One doesn't expect much from a Monogram movie, and Hot Rhythm is no exception. However, those of us who enjoyed Irene Ryan as "Granny" on The Beverly Hillbillies TV series will get a kick out of seeing Ryan in her younger days in a different role. She plays a goofy (a la Gracie Allen) secretary to her boss, played by her real-life husband Tim Ryan, who's the head of a radio jingle production company. And movie buffs may not recognize silent-movie comedian Harry Langdon in one of his final roles before his death. An OK film for late night bouts of insomnia.
Reviews
5 Reviews
1492: Conquest of Paradise
(1992)
Setting History on it's Ear
25 October 2000
Director Ridley Scott and writer Roselyne Bosch play fast and loose with historical accuracy in this white-washed telling of Christopher Columbus' adventures.
Rather than seeing the Columbus of history plundering other lands in search of gold while brutally enslaving and mass murdering the natives, we are presented with a kind, gentle, benign Columbus (portrayed by the surrealistically cast Gérard Depardieu) who's surrounded by unscrupulous characters. Scott's Columbus is an idealistic visionary who only wants "a new world," yet is a pawn caught between bad people doing bad things. Poor Columbus ... all he wants to do is explore.
Of course, this calls for *a lot* of historical revisionism for the screenplay, which re-arranges events and the instigators of them (atrocities are shifted to the work of others rather than Columbus, and for different reasons; otherwise, it's omitted from the story).
But why fictionalize history (reality is always more interesting) with this pabulum, and then pass it off as "history"? Either no research was done, or they intentionally fabricated the story; there is no other option.
"Life has more imagination than we carry in our dreams," we are told just before the closing credits. Indeed. Too bad the writer didn't follow this advice. The truth would have made far better drama.
Rather than seeing the Columbus of history plundering other lands in search of gold while brutally enslaving and mass murdering the natives, we are presented with a kind, gentle, benign Columbus (portrayed by the surrealistically cast Gérard Depardieu) who's surrounded by unscrupulous characters. Scott's Columbus is an idealistic visionary who only wants "a new world," yet is a pawn caught between bad people doing bad things. Poor Columbus ... all he wants to do is explore.
Of course, this calls for *a lot* of historical revisionism for the screenplay, which re-arranges events and the instigators of them (atrocities are shifted to the work of others rather than Columbus, and for different reasons; otherwise, it's omitted from the story).
But why fictionalize history (reality is always more interesting) with this pabulum, and then pass it off as "history"? Either no research was done, or they intentionally fabricated the story; there is no other option.
"Life has more imagination than we carry in our dreams," we are told just before the closing credits. Indeed. Too bad the writer didn't follow this advice. The truth would have made far better drama.
An Intimate Portrait of an Amazing Woman
24 June 2000
At 100 years of age, Ruth C. Ellis is the oldest living lesbian activist. In this lovingly produced video/film documentary, Ms. Ellis life is traced from her birth, her family, relationships and her experiences throughout the 20th century as a black, openly gay woman.
One cannot help but be endeared by her personality, charm and forthrightness. Her agility and alertness is evident in her interviews, which serves as the narrative thread that runs throughout the program.
Ms. Ellis not only gives history a voice (one that should be heard), but a heart as well.
One cannot help but be endeared by her personality, charm and forthrightness. Her agility and alertness is evident in her interviews, which serves as the narrative thread that runs throughout the program.
Ms. Ellis not only gives history a voice (one that should be heard), but a heart as well.
Armageddon
(1998)
Stupid is as Stupid Does.
8 October 1999
Had it not been for the 1999 release of "The Mummy," this would have easily been the lamest film of the '90's. Contrived, cookie-cutter plot premise; lines so predictable you can actually mouth along with the actors the first time you see it; and emoting from Bruce Willis that is over the top.
Like "The Mummy," "Armageddon" is a silly, pretentious movie that doesn't even come close to the hype (if you've seen the trailers, you've already seen the "best" parts of it). If it weren't so ludicrous, you'd be angry; within minutes of the beginning, you know you've been had.
On a scale from one to ten, this film falls into the minus category and *owes me* for spending money on this waste of celluloid.
Like "The Mummy," "Armageddon" is a silly, pretentious movie that doesn't even come close to the hype (if you've seen the trailers, you've already seen the "best" parts of it). If it weren't so ludicrous, you'd be angry; within minutes of the beginning, you know you've been had.
On a scale from one to ten, this film falls into the minus category and *owes me* for spending money on this waste of celluloid.
A Delicate Balance
(1973)
Fierce Females, Gentle Men
7 October 1999
Director Tony Richardson's presentation of "A Delicate Balance" could be dismissed for it's lack of edginess and it's gentrified (albeit screwed up) characters. It is also what critics would call a "stagy" film. Yet it is redeemed from this dour damnation because of Albee's wonderful way with words, the rich cinematography, and exceptional acting, exceptionally well cast: Katherine Hepburn, Paul Scofield, Lee Remick, Joseph Cotton.
For those looking for a violent film -- not in the form of bullets or explosions -- but of verbal surgical strikes, this is it. Edward Albee's dialogue provides all the female (yes, this would be considered a "woman's movie") protagonists and antagonists (one wonders at times which is which) a laser like aim against their primary targets: other women. And it is done under a guise of "civility"; sometimes, with a smile.
The stand-out among these veteran actors is Kate Reid, who plays Claire, the alcoholic in-law who at times gives the most voice to the story, set amid a dysfunctional Connecticut family. But even her performance can't out weigh the constant barrage of verbal cross-fire from her friends and in-laws. Yet the twist here is that the aggressors are the women, while the men attempt to keep the peace as best they can -- only firing back if attacked by the females.
This isn't a film for everyone; it's definitely the stuff of classic drawing room (psycho) drama. But for those who can appreciate consummate acting armed with deft dialogue, make yourself a nice cup of tea -- spiked with a shot or two of brandy -- and check this out.
For those looking for a violent film -- not in the form of bullets or explosions -- but of verbal surgical strikes, this is it. Edward Albee's dialogue provides all the female (yes, this would be considered a "woman's movie") protagonists and antagonists (one wonders at times which is which) a laser like aim against their primary targets: other women. And it is done under a guise of "civility"; sometimes, with a smile.
The stand-out among these veteran actors is Kate Reid, who plays Claire, the alcoholic in-law who at times gives the most voice to the story, set amid a dysfunctional Connecticut family. But even her performance can't out weigh the constant barrage of verbal cross-fire from her friends and in-laws. Yet the twist here is that the aggressors are the women, while the men attempt to keep the peace as best they can -- only firing back if attacked by the females.
This isn't a film for everyone; it's definitely the stuff of classic drawing room (psycho) drama. But for those who can appreciate consummate acting armed with deft dialogue, make yourself a nice cup of tea -- spiked with a shot or two of brandy -- and check this out.
Tell Your Friends