One of the most well written movies I've had the pleasure to see. Very slow moving to allow you to sink into the characters and their lives like a warm bath. Also, laugh out loud funny in parts. Just wait for the first scene in the convenience store to see an unforgettable character.
Reviews
11 Reviews
Phantasm IV: Oblivion
(1998)
Surprisingly Good
29 December 2000
A horror movie that is fourth in a series should be terrible. This one actually stands on its own as a good movie, though perhaps not great as fourth in the series.
As other users have commented, this movie does not answer questions about the Phantasm series. It shows a little background on the tall man, and that's it.
On the other hand, looking at it as a stand-alone-movie, it works! It has very coherent and often beautiful art direction. There are very few characters (I assume to save money), but that works. It keeps the movie from bogging down in goofy dialogue and laughable characters like Phantasm III.
The movie actually gets rather artful at times. Just observe the desert scenes with the field of metal rods to see what I mean. The Tall Man doesn't seem too threatening in this one. He come across much more as a constant pressure instead of an acute danger.
The individual characters aren't really developed any more than the previous films. They are reaching archetypal roles of heros, seekers, fighters, etc.
This is not a slasher film. It almost is not a horror movie. Oddly enough, it is almost stepping out of its low-brow beginnings (except for the breast scene in the hotel) and nearly reaching art movie status. I would love to see Phantasm V taken further in this vein. Unfortunately, I think this is the last of the series. Enjoy it if you can find it!
As other users have commented, this movie does not answer questions about the Phantasm series. It shows a little background on the tall man, and that's it.
On the other hand, looking at it as a stand-alone-movie, it works! It has very coherent and often beautiful art direction. There are very few characters (I assume to save money), but that works. It keeps the movie from bogging down in goofy dialogue and laughable characters like Phantasm III.
The movie actually gets rather artful at times. Just observe the desert scenes with the field of metal rods to see what I mean. The Tall Man doesn't seem too threatening in this one. He come across much more as a constant pressure instead of an acute danger.
The individual characters aren't really developed any more than the previous films. They are reaching archetypal roles of heros, seekers, fighters, etc.
This is not a slasher film. It almost is not a horror movie. Oddly enough, it is almost stepping out of its low-brow beginnings (except for the breast scene in the hotel) and nearly reaching art movie status. I would love to see Phantasm V taken further in this vein. Unfortunately, I think this is the last of the series. Enjoy it if you can find it!
The Pirate
(1948)
Surprisingly disappointing
29 December 2000
I'm a fan of Judy Garland, Vincente Minnelli, and Gene Kelly, but this movie just left me cold. I was expecting another American In Paris from Minnelli, so perhaps I was expecting too much.
The movie was short on songs and short of impressive dance numbers. I was impressed by the very expressionistic Kelly dance as Mococo on the ship. I was also impressed by the Nicholas Brothers in Be a Clown, too bad the song was so annoying. I also enjoyed Judy attacking Kelly with bric-a-brac. Check Lorna Luft's autobiography for some interesting information on that scene.
Actually, the movie has what must be some of Cole Porter's most annoying songs, especially "Nina". Also, Judy and Gene yell constantly like screechy children.
The plot is thin--which is par for the course for musicals--but it is not saved by impressive dance numbers or by memorable songs. I suspect the best parts of this movie were left on the cutting room floor. Please, some movie restorer, find those bits of film and show us what the movie could have been!
The movie was short on songs and short of impressive dance numbers. I was impressed by the very expressionistic Kelly dance as Mococo on the ship. I was also impressed by the Nicholas Brothers in Be a Clown, too bad the song was so annoying. I also enjoyed Judy attacking Kelly with bric-a-brac. Check Lorna Luft's autobiography for some interesting information on that scene.
Actually, the movie has what must be some of Cole Porter's most annoying songs, especially "Nina". Also, Judy and Gene yell constantly like screechy children.
The plot is thin--which is par for the course for musicals--but it is not saved by impressive dance numbers or by memorable songs. I suspect the best parts of this movie were left on the cutting room floor. Please, some movie restorer, find those bits of film and show us what the movie could have been!
Spanking the Monkey
(1994)
Not a comedy. Not quite a tragedy.
30 April 2000
Warning: Spoilers
SPOILERS FOLLOW:
The ads and info for this movie promise a comedy. Do not be fooled. Some Advertising people must have been too scared by the plot to expect the movie to even make it on the art theater circuit without promises of laughs.
The film is actually a tale of a dysfunctional family and how the dysfunction finally hits the surface of daily life. The father is an ucaring, uninterested lout who is traveling all the time. The mother has compromised her dreams to have a child. The child (now a college student) is on his way to a promising future when he is called home to care for his injured mother.
While at home, his mother slowly drags him into her web of control, apparently in an effort to get a release for her many emotional and physical needs.
The camera angles and various two-person shot set-ups owe everything to The Graduate. I suspect the director was making a comment on the underlying Oedipal themes in that film. After much build-up in Spanking the Monkey, the Oedipal complex is no longer subconscious, but hits full awaken action.
After consummating the plot, the son must deal with his feelings as best he can. Unfortunately, he has no outlet and no hope for change.
The resolution of the film offered a a slight relief to the doom and gloom of the story.
Worth watching if you like intense, well written films or if you are the least bit interested in psychology. Avoid at all costs if you want a fun, fluff movie.
The ads and info for this movie promise a comedy. Do not be fooled. Some Advertising people must have been too scared by the plot to expect the movie to even make it on the art theater circuit without promises of laughs.
The film is actually a tale of a dysfunctional family and how the dysfunction finally hits the surface of daily life. The father is an ucaring, uninterested lout who is traveling all the time. The mother has compromised her dreams to have a child. The child (now a college student) is on his way to a promising future when he is called home to care for his injured mother.
While at home, his mother slowly drags him into her web of control, apparently in an effort to get a release for her many emotional and physical needs.
The camera angles and various two-person shot set-ups owe everything to The Graduate. I suspect the director was making a comment on the underlying Oedipal themes in that film. After much build-up in Spanking the Monkey, the Oedipal complex is no longer subconscious, but hits full awaken action.
After consummating the plot, the son must deal with his feelings as best he can. Unfortunately, he has no outlet and no hope for change.
The resolution of the film offered a a slight relief to the doom and gloom of the story.
Worth watching if you like intense, well written films or if you are the least bit interested in psychology. Avoid at all costs if you want a fun, fluff movie.
Angry at the Controversy
23 March 2000
I just saw The Last Temptation of Christ and boy am I upset! I'm angry at the narrow-mindedness of those who portrayed this film as blasphemous and un-Christian. I'm angry at those who said this was anything but a flattering portrait of Jesus. There is nothing in this film that is not consistent with the picture of Jesus portrayed in the Gospels. Apparently, the idea that Jesus was a real human being with real struggles and temptations is too much for some Christians (and I use that term loosely) to handle.
Really, I think the film makers handled Jesus with kid gloves. Not only is the Jesus of their film heterosexual (some modern historians have suggested he was not) but the "lustful fantasy" that was supposed to be taking place on the cross was a fantasy of married domestic bliss - real "family values" stuff. The rest of the film could very well have come out of "The Greatest Story Ever Told." Scorsese and the writers obviously bought into the idealized portrait of Jesus as epic hero. There were so many places during the ministry phase of Jesus' life that could have been treated with more humanity. I'm thinking particularly of the raising of Lazarus, where the Bible says "Jesus wept." In the film, Jesus doesn't shed tear one over the loss of his friend.
My favorite quote from the whole flack over this film comes from the Most Reverend Pat Robertson. He says the film shows Jesus as a sex-crazed mental deficient. Obviously, Robertson never saw the film, so it makes you seriously wonder about what Robertson really thinks about Jesus. Physician, heal thyself!
Really, I think the film makers handled Jesus with kid gloves. Not only is the Jesus of their film heterosexual (some modern historians have suggested he was not) but the "lustful fantasy" that was supposed to be taking place on the cross was a fantasy of married domestic bliss - real "family values" stuff. The rest of the film could very well have come out of "The Greatest Story Ever Told." Scorsese and the writers obviously bought into the idealized portrait of Jesus as epic hero. There were so many places during the ministry phase of Jesus' life that could have been treated with more humanity. I'm thinking particularly of the raising of Lazarus, where the Bible says "Jesus wept." In the film, Jesus doesn't shed tear one over the loss of his friend.
My favorite quote from the whole flack over this film comes from the Most Reverend Pat Robertson. He says the film shows Jesus as a sex-crazed mental deficient. Obviously, Robertson never saw the film, so it makes you seriously wonder about what Robertson really thinks about Jesus. Physician, heal thyself!
The Inheritor
(1990)
At least there aren't any editing mistakes.
3 November 1999
So many problems with this movie, so little time. It suffers from over acting, under acting, cheap music, cheap sets, cheap film, cheap hair, cheap writing, and cheap feelings. Some movies are watchable because they are so bad. This one is just boring. Even the brief and barely seeable nudity doesn't save it.
The only other comment worth making is: Casablanca is a damn fine movie.
The only other comment worth making is: Casablanca is a damn fine movie.
Steamboat Bill, Jr.
(1928)
In the Top 3 of Keaton's films.
1 June 1999
This is one of Keaton's best, just behind The General and Sherlock Jr. The story is much more coherent without the surreality of Sherlock Jr., yet has more of Keaton's famous physical comedy that wasn't as prevelant in The General.
Everyone talks about the Wall Falling Scene. It is astounding to be sure, but for sheer belly laughs, watch the scene in which Bill Jr. is made to try on a multitude of hats by his father. Note that the one hat Bill Jr. seems to hate is Keaton's own signature "Porkpie" hat.
Everyone talks about the Wall Falling Scene. It is astounding to be sure, but for sheer belly laughs, watch the scene in which Bill Jr. is made to try on a multitude of hats by his father. Note that the one hat Bill Jr. seems to hate is Keaton's own signature "Porkpie" hat.
Positive: Life with HIV
(1995)
An outstanding documentary on living with HIV in the 90's.
24 November 1998
This four hour long program is the best documentary on living with AIDS/HIV that I have ever seen. It is poignant, moving, funny, striking, uplifting and memorable. The documentary combines interviews, skits, animation, music, songs, poems, and dance by/for/about people living with HIV/AIDS.
Positive: Life with HIV doesn't fall into the usual traps of such documentaries. It neither become too clinical nor too sentimental and is never boring. There are interviews with gay men, straight men, children, parents, lesbians, straight women, wives, husbands, doctors, nurses, health care providers, spiritual leaders, and more.
The four sections of the program are each an hour long: Identity, Community, Care, and Fighting for Our Lives. Each segment is interesting and watchable. This program is appropriate for and effective for people of any age and any walk of life.
"Educational, entertaining, and informative" are cliches for documentaries, but this one is all of that and much much more.
Positive: Life with HIV doesn't fall into the usual traps of such documentaries. It neither become too clinical nor too sentimental and is never boring. There are interviews with gay men, straight men, children, parents, lesbians, straight women, wives, husbands, doctors, nurses, health care providers, spiritual leaders, and more.
The four sections of the program are each an hour long: Identity, Community, Care, and Fighting for Our Lives. Each segment is interesting and watchable. This program is appropriate for and effective for people of any age and any walk of life.
"Educational, entertaining, and informative" are cliches for documentaries, but this one is all of that and much much more.
Penn & Teller Get Killed
(1989)
You can't go wrong with magic, death, and Euro-trash.
24 November 1998
This movie is a must see for Penn and Teller fans. The story line reflects a lot about how the Bad Boys of Magic really act while on the road.
The constant pranks are imminently entertaining. The movie drags a bit near the end, but leads up to a great surprise for fans of the magic twosome.
The film may not sustain itself well for viewers who aren't very familiar with Penn and Teller. Still, you can't help but enjoy the frenzied nuttiness of the airport scene.
The constant pranks are imminently entertaining. The movie drags a bit near the end, but leads up to a great surprise for fans of the magic twosome.
The film may not sustain itself well for viewers who aren't very familiar with Penn and Teller. Still, you can't help but enjoy the frenzied nuttiness of the airport scene.
A must-see for KITH fans and great for everyone else too!
23 November 1998
A fun comedy about a scientist, Dr. Cooper, working for a drug conglomerate, Roritor. Dr. Cooper develops an anti-depressant that is immediately marketed without testing for side effects. Soon Dr. Cooper is dealing with the unforeseen problems of his popular drug and the controlling power of the conglomerate and its ego-manical founder, Mr. Roritor.
This movie is surprisingly layered. Beyond being a great Kids In The Hall vehicle, it is a shrewd satire on the American obsession with magic drugs. The movie also explores the cult-of-personality that surrounds anyone in the news, whether they be movie stars or scientists.
The KITH provide their normal nuttiness, but without most of the popular characters from the TV show. This may be a slight disappointment for fans, but it makes the movie accessable to new viewers.
This movie is surprisingly layered. Beyond being a great Kids In The Hall vehicle, it is a shrewd satire on the American obsession with magic drugs. The movie also explores the cult-of-personality that surrounds anyone in the news, whether they be movie stars or scientists.
The KITH provide their normal nuttiness, but without most of the popular characters from the TV show. This may be a slight disappointment for fans, but it makes the movie accessable to new viewers.
L.A. Story
(1991)
Martin at his whimsical best.
22 November 1998
Next to his screenplay for Roxanne, Steve Martin's best mature work to date is L.A. Story.
Like all great movies, L.A. Story is a layered movie. The most obvious story layer is the love story between Martin's character and Tennant's character.
The next layer is Martin's tribute to the city of Los Angeles. That is the real story in this movie. Everything that happens to the characters happens because of the backdrop of L.A.. The movie's most important character is the city. This is perhaps most telling when you understand that the most powerful character is the Freeway Sign. The Freeway Sign is the only character that can create change and is not subject to fate. The Sign is part of the city's infrastructure, hence it is the city that is changing the other characters' fates.
The final layer is the personal changes experienced by Martin's character, Harris Telemacher.
This movie is quiet and slow moving. It has some of Martin's trademark surreality (rollerskating through art museums and Shakespeare in the cemetery), but it lacks the nutty antics he displayed in The Jerk and All of Me.
All in all, it is a wonderful love story, a quiet comedy, and a great tribute to L.A..
Like all great movies, L.A. Story is a layered movie. The most obvious story layer is the love story between Martin's character and Tennant's character.
The next layer is Martin's tribute to the city of Los Angeles. That is the real story in this movie. Everything that happens to the characters happens because of the backdrop of L.A.. The movie's most important character is the city. This is perhaps most telling when you understand that the most powerful character is the Freeway Sign. The Freeway Sign is the only character that can create change and is not subject to fate. The Sign is part of the city's infrastructure, hence it is the city that is changing the other characters' fates.
The final layer is the personal changes experienced by Martin's character, Harris Telemacher.
This movie is quiet and slow moving. It has some of Martin's trademark surreality (rollerskating through art museums and Shakespeare in the cemetery), but it lacks the nutty antics he displayed in The Jerk and All of Me.
All in all, it is a wonderful love story, a quiet comedy, and a great tribute to L.A..
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