David-HMB Reviews

Cuba (1979)

Unintentionally Hilarious

[2/10 · 9 April 2010]

As a connoisseur of very bad cinema, I haven't laughed so hard in a long time. For all involved, this star-studded catastrophe must either have been a desperate misery, or a sad, resigned joke to make.

Somehow permitted to be shot on location in legitimately atmospheric locations in Havana, this turkey seems to have been enacted within an alternate universe, where each and every person is, for lack of a more eloquent designation, flat-out stupid.

Nearly every shot and line of dialog contains truly jaw-dropping anachronisms, incongruities, and incomprehensible plot gaps.

The characters, each the epitome of stereotyping (as well as typecasting) are quite completely air-headed. With the lonely exception of Sean Connery, whose apparently sincere effort sadly amounted to no particular improvement to the results, all the actors as well as the writers and director phoned in their work, apparently via low-fidelity satellite phones.

Someday I hope to read someone's memoirs about the making of _Cuba_. Meanwhile I'd actually recommend it to anyone with an appreciation for Bad Cinema. It richly earns my vote for inclusion in the list of 50 worst films of all time; the two stars in my 2/10 rating are due to the true amusement value of pretentious cinematic drek of the very first caliber.

Down to the Bone (2004)

A powerful cocktail - both dry and sweet

[8/10 · 9 November 2006]

This movie telegraphs its tone in the first minute -- as others have pointed out, it's not exactly breezy. But it is well worth making the commitment to watch.

Farmiga's performance has integrity and guts, especially when she's interacting with the kids, but all her interactions with the secondary characters have a compelling spark of reality to them. She uses her whole body to say a line, the way real people sometimes do, especially when under stress. As in her other works, she commands every scene she's in. It's nice to see her own an entire film.

I felt the same subversive sweetness under the surface that many classic, superbly observed films seem to share, along with an astringently dry humor and personality, while remaining almost unrelentingly bleak on the surface. I found the final ten seconds particularly satisfying.

Shallow Hal (2001)

I Got It

[26 January 2003]

Just one great moment in Shallow Hal does it for me.

In fact, I know it didn't happen this way, but I can't help imagining the stereotypical hard-up screenwriter pitching the Shallow Hal story to a producer:

"So, Jack Black gets into this elevator with Anthony Robbins, and..."

"Stop right there! Where do I sign?"

Housekeeping (1987)

A keyhole to look through

[22 August 2002]

This is a film of a rare, intimate perception that is aimed with pinpoint precision at a few unusual characters and the places they inhabit. At first its subjects seem simple, but like many people do, these characters are merely shielding themselves, hesitant to reveal much of their real natures except as as rare gifts in intimate moments. It must have been tremendously challenging to create and portray natural introverts like these characters, but as an introvert myself (I assert that characteristic without any touch of self-disparagement), I found this story rewardingly resonant of my own experience, especially of childhood memories, although indeed my outward circumstances had little in common with this story.

Almost never has any film conveyed a sense and feeling of a few small places so clearly and so effortlessly. We cherished the village in "Local Hero", but Fingerbone is an incomparably more realistic and deftly drawn place (despite occasional overreaching, e.g., the town's name, and a train accident that stretches credulity in more than one way).

For anyone willing to watch, dusk and the blue pre-dawn illuminate and suffuse these characters' lives. Sylvie sits by herself in the "dark", but there are wonderful secrets to discover in places that seem a void to others. Even well-meaning intrusions, like interruptions to meditation, can seem tragic.

Even more distinctly than Forsyth's other work, this film certainly wouldn't appeal to everyone, but it is a beautiful and evocative character study that has the courage to deal with personalities, events and emotions too obscure or inaccessible for most mainstream filmmakers. Forsyth deserves credit for having gotten this made in the first place, as well as for the eclectic perception that gave the film its many unique and worthwhile qualities.

Giant (1956)

A story about a house and a state

[22 June 2002]

Two of the outstanding "stars" in this movie are the house at Reata and the state of Texas. It is interesting to watch as the house changes over the years, but the attitudes of most of the European-heritage Texans stay surprisingly small-minded for such a large state.

Also, although perhaps she isn't one of the most skilled actors who ever lived, nonetheless I can never tear my eyes away from Carroll Baker in this, or any of her other films. I am surprised so few people have commented on Baker's typically naturalistic take on the strong-willed semi-"bad girl" whose behavior must have resembled that of her namesake in her own youth.

Overall, Giant seems a bit poorly-constructed (and yes, poorly-explained), a little too long or too short (either a much tighter or more epic spectacle is called for, I believe), but otherwise a reasonably entertaining view of a family. As a sweeping view of the land of the West, "The Big Country" is a better-constructed film. On the other hand, I liked "The Carpet-Baggers", so that's an idea of my taste in family sagas!

Silverado (1985)

Entertaining, but not innovative enough

[25 February 2002]

Many of the reviews say _Silverado_ broke new ground for the Western genre, but I would argue that while it was undoubtedly good escapist fun, it was more derivative than innovative.

Sure, the conversations often seem much more natural than those from other Westerns, and indeed most of the characters are drawn with more dimensions intact, but the entire script could have been pulled together by pulling scenes from a bag full of ideas from other movies. Not to mention the locations, which I could have sworn I recognized from films like _The Big Country_ and anything by John Ford.

For example, Brian Dennehy did a fine job, but you could tell who his character was just by the fact that Dennehy was cast in the role. Many of his characters share the traits of Sheriff Cobb (more than this, I won't say here).

I have to say that as a firm non-fan of Kevin Costner, even I have to admit he did fine here as well... as did all the lead actors. Their careers since _Silverado_ have demonstrated that this was an unusually gifted ensemble.

Rip Girls (2000 TV Movie)

Good movie, superb music

[8/10 · 2 September 2001]

Here is a solid, satisfying film, very much in the mold of the best of Disney's product of recent years -- seamless, escapist and enjoyable.

Be especially on the lookout for the outstanding music by Philip Marshall. While helping drive the action forward and maintaining a resolute pace in the usual professional Disney fashion, the score also gives opportunities for some very tasty virtuoso slide guitar riffage, as well as mood-reinforcing Hawaiian slack key work.

The talents of Martha Coolidge have by no means gone astray here. As director of such under-appreciated gems as "Real Genius", "Rambling Rose", and "Valley Girl", her efforts as producer of "Rip Girls" seem to have pulled together a well-coordinated package well worth a look.

Crouching Tiger, Hidden Dragon (2000)

A nuanced gem of storytelling structure

[9/10 · 29 June 2001]

A few superb films are so carefully made that every shot seems to have its own story to tell.

This film goes all of them one better -- nearly every frame seems to have a life of its own, and a carefully thought out reason for being part of this remarkable epic.

It is a rare event in film to see such discipline that its characters' every subtle movement falls into the effortless rhythm of the camera and editing while also propelling the story forward. The more closely you watch this film, the better it gets. It is crafted with a seemingly superhuman attention to detail.

The lengthy, structurally audacious flashback serves as close counterpoint to the consistently extraordinary scene settings and several first-order cinematographic coups involving the synthesis of other-worldly beauty through framing and digitally clarified color.

And it's not just art -- some of the fight scenes and a few clever shots so quick you better not blink are outright fun!

OK, I admit it. As a sincere lifelong cinema addict, I've maintained a very short list of "the best films ever made" since I saw "2001: A Space Odyssey" on my 10th birthday, the day it premiered in New York. I didn't understand "2001" that day, and I'm certain I don't fully grasp "Crouching Tiger" in 2001.

But "Crouching Tiger" has an unassailable place on that short list.

Anyone who enjoys movies as movies must not lose the opportunity to see a good print of this in a good projection facility. The DVD stands up as well as any DVD, but this film begs to be seen in a theatre.

Molokai (1999)

An intimate, fascinating study, but strangely structured

[20 June 2001]

This is a surprisingly intimate look at some of Father Damien's experiences, but the dramatic structure of the film is often frustratingly fragmented.

Scenes of the authorities on O'ahu struggling with how to deal with the amazing man and his demands on behalf of his community seem to have been shot very hastily, and they fit poorly with the more carefully conceived segments from Moloka'i. Even there, the scenes with Peter O'Toole seem poorly integrated into the progression of the story.

Despite the participation of many top-flight actors and actual local victims of Hansen's disease, this film offers only fleeting, tantalizing glimpses of what could have been a tremendously powerful drama of the life of a man who may yet become an actual saint. In isolation, the leading performances are very fine, but the package failed to gel and the film is, finally, only a carefully-drawn series of vignettes.