emefay Reviews

Supernatural: Sympathy for the Devil (2009) Season 5, Episode 1

Hey! Some props to Becky, please!

[9/10 · 26 May 2013]

I agree with most of the other 4 reviews, especially that Mark Pellegrino did get the funniest line when he was speaking to Satan in the form of his dead wife (see other review), and yes it was smart the way he was introduced. And the "new" Meg did speak oddly, which I guess was an acting choice (but a poor one).

However,none of the 4 reviews before this one mentioned the always excellent Emily Perkins as Sam-crazed Becky. Come on, Supernatural fans, Emily Perkins is a hoot every time she shows up! She might not have had as much screen time as in the other two episodes she was in, but she made the most of her time.

The initial scene on computer screens with Chuck was cute, but the best was when she met Sam and kept touching his chest. (Sam: "Becky, could you please stop touching me?" Becky: "No." :-) ) Emily Perkins is in my opinion a much-underused actress. Ever since her days as teen hooker Sue on the best police drama ever, DaVinci's Inquest, she has been a great favourite of mine. And no, I don't know her nor am I related to her! LOL But seriously, she brings a lot to Becky and to every role she takes on. I hope we see more of her on Supernatural and elsewhere.

All in all, this was a very good ep. B+, at least.

The Mighty Celt (2005)

too sad for the dogs

[4/10 · 17 April 2011]

The story of the boy and his mother and O was fine, very sweet, even. Even the fact that Joe turned out bad and let the boy down was okay -- a kind of life lesson for him.

But there was no need to do such cruel things to the dogs. It was heart-breaking. I don't know how anyone can be so heartless, yet I know such cruelty does go on in real life. The people who hurt animals have no hearts and I hope they burn in hell.

I agree with the review from Leo 811. The film should not have depicted such violence. It was unnecessary. A good story could still have been told with letting the boy get his beloved Celt back safely in the end. Tacking on the "happy" ending with a new puppy is not good enough.

Films need to be more uplifting. We should be inspiring young people to be kind to all animals, domestic and wild.

The Prisoner: Fall Out (1968) Season 1, Episode 17

Fall Out is Brilliant

[10/10 · 25 April 2007]

Although I agree with most of what "steve 3285" said in his insightful and comprehensive discussion of Fall Out, that fascinating ultimate episode of my favourite series ever, I have one quibble. I do not think Angelo Muscat, the Butler, was meant to be taking #6's place when he entered the door of his house at the end. I think he was just about to become his Butler. Yes, it was clever that the door opened and closed electronically - one last clue to the multiple meanings in this fabulous series.

I just wonder one thing, out of curiosity. Although I "got" the various allusions to different concepts of "1," and "I" as Steve mentioned, I must confess that I missed the relationship to the word "Aye." I DID see all the others, and I wonder if he noted one more. People often refer to themselves as #1. I could not be sure if Steve meant that, too, when he said #1 in his review. The self as #1, meaning "I'm the most important person in my opinion," or "looking out for #1," that sort of thing, was my first clue to the puns all those years ago when I watched The Prisoner for the first time in stunned admiration.

It was always one of the sadnesses of my life that I never got to meet the brilliant Mr. McGoohan, although we both lived in Southern California at the same time; and another that I have not yet been able to visit Portmeirion - although I have some of the eponymous dishes designed so beautifully by Ms. Susan WIlliams-Ellis.

The Prisoner, and this episode in particular, still stands alone as the most intriguingly surreal television program ever.

Tough Crowd with Colin Quinn (2002–2004)

Tragic loss to satire and critical thinking when cancelled

[10/10 · 21 April 2007]

What a tragic waste when this show was cancelled. I could not agree more with reviewer "peddlerofbls." Colin has such a sharp mind, and had such self-confidence that he chose truly bright and funny people like Judy Gold, Patrice O'Neal, and Greg Giraldo, who did not toady to him by any means, but added their own super-acute two cents while commenting on issues of the day.

The fact that Comedy Central took him off and yet keeps such infantile rubbish as South Park and Dave Chappelle is so maddening. Sure, Colbert Report and Daily Show are pretty good in their own ways, but they are not the feast for real intellectuals that Colin Quinn's Tough Crowd was.

Comedy Central cannot begin to be taken as "cutting edge" when it sidelines truly edgy fare as Tough Crowd and panders to middle-of-the-roaders who kid themselves they are witty because they watch Jon Stewart smirk nightly.

The old saying "cream rises to the top" is completely false. In TV, including Comedy Central, "mediocrity rises to the top." Quelle dommage.

BRING BACK TOUGH CROWD, you cretins at C. C.!!!!

A Canterbury Tale (1944)

What a delight!

[10/10 · 17 January 2007]

As I have seen many British films of the period, I was amazed that I had not seen this one before today (1/17/07). What a charmer! All the characters are done beautifully, and represent truly credible and creditable members of their respective backgrounds, whether British or American, town or country people. It is impossible to choose favorites among them, as Eric, Sheila, John, and Dennis all act with great understanding and competence.

The camaraderie between three, and later, four of them is touching beyond words. The scenes with the American sergeant and the children are flawless. And the setting is just what I wish to live in, as "Allison" says, I would give anything to grow old there.

I wondered about the things I saw in the sky in one scene, and am indebted to another reviewer who said they were actual wartime blimps. Fantastic! It's a wonder that the filmmakers managed to film on enough days when there was no bombing, although as it was 1944 by then, I guess it had slowed down somewhat. The immediacy of events was further shown by the sad sights Allison saw in Canterbury - the bombed-out buildings.

The mystical element is handled so gently and gracefully that it can almost be missed at certain times, but it is an integral part of the film, so I hope everyone watches this movie closely.

Well, I can't say any more without giving it away, but suffice it to say, it was a most satisfying experience. It was fully as moving in its own quiet way as "In Which We Serve," the rightly celebrated action film of the same period. English people should be proud of this beautiful paean to their best qualities.

Phantom Lady (1944)

Some clichés, but great, anyway

[9/10 · 23 December 2006]

Other reviewers have summarized this film noir well. I just wanted to add to the "Whew!" comment one reviewer made regarding Elisha Cook's obviously coke-fuelled drumming episode. This WAS a doozy, I must say. Cook deserved some acclaim for his frenzied performance.

A bit of trivia that I am surmising about: Cook appeared as a waiter in the 1941 Barbara Stanwyck film, "Ball of Fire." He was a waiter in the nightclub where Barbara was singing and legendary drummer Gene Krupa was drumming, most energetically. Is it too much to suggest that Cook's spazzy drumming in the later film, "Phantom Lady," was very much inspired by Krupa's work, as witnessed by Cook 3 years earlier?

If you watch Krupa in "Ball of Fire," I think you'll note some clearly similar body movements. One hopes, of course, that HE was not influenced by any drugs at the time!

Marple: Sleeping Murder (2006) Season 2, Episode 1

agree with Jones cw2

[5/10 · 19 June 2006]

I could not agree more with JonesCW2 from the UK in his/her assessment of the new Miss Marple. I was so befuddled watching it last night. I wondered: Was the one I saw with the excellent Joan Hickson more accurate or this one? I hoped it was the first, and I see now I was right. There were so many changes I questioned my own memory! As JonesCW2 writes, the Hickson version was SO good, I can't imagine why they bothered to re-make it at all! (Not unlike how the more recent versions of Jane Austen on TV are inferior to ones produced in the 1980s and early '90s.)

The BBC usually does a fine job, but this new series of Marple is not up to their usual standard. Geraldine McEwan is wasted, basically.

I guess this teaches us all how important it is to read the books over again to keep ourselves fresh on all the details. It might not be a bad idea to write to the producers and scold them for fiddling with the plot and characters so badly!

Winter Meeting (1948)

Implausible but almost worth watching

[5/10 · 25 May 2006]

I agree with another commentator that this is not a good Bette Davis picture. Jim Davis was indeed a weird choice for his part. The ending was about as unsatisfactory as one can be.

However, I found three elements fascinating: 1. John Hoyt was never better as the unctuous, insinuating friend to Bette's poetess. Whether or not he was supposed to be homosexual, as is implied by some critics, he was clearly also in a kind of overly-well-bred love with her. 2. Florence Bates, as always, was fine in an unusually subdued role for her (remember her over-the-top self in "Rebecca"!) 3. I just love the cat painting in Bette's apartment that Jim Davis refers to! Isn't it creepy and interesting??? If anyone out there knows who painted it or how to get a copy, I'd love to know.

Journal of a Crime (1934)

I'm confused

[7/10 · 22 July 2005]

I was watching this film for the first time today and I could swear I saw the bank robber shoot the actress. I was therefore befuddled when the wife admitted the murder to her husband. Am I crazy? Why did she confess?

Other than for this confusion, I thought the film well acted. Adolphe Menjou is always worth watching - as suave a gentleman as you'll find anywhere. Ruth Chatterton was also admirable, if soft-pedalled most of the time.

Like another commentator, I, too, was pleasantly surprised by the thwarting of the always-annoying Hays Office. I can only guess that Francoise's saving of the child's life near the end was sufficient evidence of goodness to placate the prissy Mr. Hays.

The Treasure of Lost Canyon (1952)

Charming, warm-hearted

[10/10 · 28 June 2005]

I strongly disagree with the reviewers who said they were disappointed in this film. I realize that there are some Dickensian-type coincidences that may go over the top a bit, but considering the original story was by Robert Louis Stevenson, that is acceptable to me.

The main thing for me is the warm loving relationship between William Powell and the boy, and also the one between William Powell and his wife. They are such good-hearted people and interestingly eccentric, too, it really makes you wish that more people were like them.

I also loved the scenic quality of the area; is it Northern California? So unspoiled, apparently safe, and a nice place to live. I was so happy for the boy, who had suffered in his early life, that he got to move in with such fine people and in such a lovely home.

William Powell is always worth watching, no matter the role. I only discovered this film in recent years, after having known only his urbane persona since I was a child 40+ years ago. Therefore, it was a delightful surprise to see him as this lovable codger sort. A nice role for his latter years, I thought. Even better than the amusing "Mr. Peabody and the Mermaid" a few years earlier.

Ciao Manhattan (1972)

Sad, so very, very sad

[2/10 · 20 June 2005]

As Edie's biography here on IMDb says, she was in and out of institutions. It is clear that this woman-child was taken advantage of very callously by Andy Warhol and others, at first for her money, and later for her celebrity.

Ciao! Manhattan shocked and angered me when I first saw it in 1972, because I had known Edie. For several months in 1962, when she was in a very tony, low-security psychiatric institution in Westchester, I knew her as a sweet-natured, somewhat reticent, and very artistic 19-year-old. When I first met her I thought she was a 12-year-old child, as I was, for she was so thin and under-developed looking for her age. Seeing the way she is abused in Ciao! Manhattan just leaves me feeling very sad for her. She deserved better than this exploitation film.

As for the "Summer of Love" reference made by an earlier reviewer on IMDb, referring to the fact that this film was actually made partly in 1967, I do not think Ciao, Manhattan represents any of the genuine feelings of free expression and loving attitudes that were touted at the time. There is far too much cynicism inherent in this film to connect it in any way to the hippie happiness one could experience in pleasanter circles than that inhabited/created by the ghastly, selfish, mean-spirited, and self-involved Warhol. He used and threw away such gentle souls as Edie. I weep for the lost and under-appreciated life she led while under the influence of Warhol. In kinder company, she might have survived and been happier.

Ciao, Edie! You deserved better.

Our Mother's House (1967)

Dark but intriguing

[9/10 · 29 May 2005]

The always watchable Dirk Bogarde is in top form as a nasty piece of fatherhood here. But the children match him for acting ability, I must say. Even the youngest girl, who is Phoebe Nicholls of Brideshead Revisited (TV) fame some years later. Everyone in this quietly creepy film does a good job with their characters. This is just the sort of intelligent story the British do so well. It captures its period skillfully, and I found myself wanting to "enter" the story to help the characters out! One really feels for the children's plight. Yet, they ARE capable creatures. (They put one in mind of English books such as E. Nesbit's The Wouldbegoods, not that the story is nearly as pleasant, but because the children are so good at looking after themselves independently.)

I have always found these atmospheric English films far superior to slam-bang American entertainment. Not to everyone's taste, perhaps, but that makes it more fun, too. Whistle Down the Wind comes to mind as a similarly enjoyable essay on quirky childhood experiences.

The Man Who Knew Too Much (1934)

So much better than the later version

[8/10 · 20 May 2005]

This original version of the film is far superior to the 1956 edition, with James Stewart and a horribly miscast Doris Day. Edna Best, the mother in this 1934 film, is sturdy and heroic on behalf of her kidnapped daughter, as opposed to Doris's alternately screeching and whimpering (and typically prim 1950s'-style) Mom. And the stiff-upper-lip Leslie Banks is also better than the arrogant-American-style Stewart.

The dark-ish and seedy London sets are appropriate to the storyline. And best of all, the climax (which I will not, of course, reveal!), shows off the best of British sang-froid.

And yes, Peter Lorre is a treat in this. His performance is wonderfully peculiar and piquant.

Skip the boring colored 1956 version - this black-and-white thriller is the one to watch.

Gypsy Girl (1966)

"Simple" girl well matched with simply adorable gypsy boy

[10/10 · 24 April 2005]

Hayley Mills was never more appealing than as the sweet-natured, arrested-development country girl who is more at home playing with village children than living with her rather unpleasant mother. As she is the sort of fragile, other-worldly spirit that one fears will come to mischief in this cruel world, the viewer is mightily relieved when she is taken up by the gypsies - at least this particular brand of comparatively gentle gypsies - as their simple way of life seems better suited to her future than "ordinary" growing up and marriage to a "normal" person would be. With the gorgeous and kindly gypsy boy (played by the stunningly attractive Ian McShane), Brydie feels loved and safe; and one senses that their life together will be relatively uncomplicated by modern annoyances. (It is something of a parallel to the George Hamilton/Yvette Mimieux romance in "Light in the Piazza," made a few years earlier.) I loved this film, and wished to enter into the pretty-but-now-mostly-vanished English countryside of the time. John Mills and Hayley worked together well on several occasions, and of course, Mother Mary's story was charming. Highly recommended for anyone with an ounce of romance in their souls.

Separate Tables (1958)

Britishness Par Excellence

[10/10 · 23 February 2005]

Terrence Rattigan portrays with such poignancy and acuity two quintessential British traits: repression of emotion and milk of human kindness. Mind you, there's plenty of small-mindedness and snobbery, too, but happily, the decency inside most of the characters wins the day.

Not one of the actors lets us down in this film. The superb performances do credit to Rattigan's and Gay's brilliant writing. Hurrah for Hiller, Niven, Kerr, Nesbitt, Cooper, Aylmer, Lancaster, and Hayworth, all!!

(Although some worldly viewers might find such a quiet hotel restrictive to their lifestyle, I thought it just lovely and wished to be able to stay there myself.)

The Stranger Left No Card (1952)

Desperate to see again

[10/10 · 18 February 2005]

It's been decades since I saw this on British television, and I am desperate to see it again! It was so mysterious and well done. And Alan Badel is a terrific actor, with such a silky-smooth, mesmerizing voice. One can't get enough of him, really. There were so many atmospheric "small" films, made in Britain in the 1950s, and still little-known in the States. The respected tradition of regional and repertory theatres doubtless added greatly to the quality of such films, wherein "stars" as such are not strictly necessary to the end result. (Pity that American films lend themselves more to the star system.) If anyone knows how to get a copy, please let us who cruise IMDb know. Thanks.

I Know Where I'm Going! (1945)

Poignant and intelligent

[9/10 · 18 February 2005]

Like Brigid (wisewebwoman), I, too, found this a most satisfying film on all levels. The location could not have been more romantic, the perfect counter-balance to the heroine's stiffly sensible intentions to marry "well." Wendy Hiller is always good to watch, and I found Roger Livesey as dashing as humanly possible. (He was also brilliant in "Staircase to Heaven," a David Niven film from 1946.) The charm of the locals, and the excitement of the foolhardy sea voyage juxtaposed well. All in all, a marvelous, little-known gem of a film. Would that Turner Classic Movies would "discover" such British jewels from the 1940s and 1950s and play them more often. (I think I saw this when living in England in the 1980s.)