For what it’s worth, I never stole from anybody who would go hungry.
If North by Northwest was a roller coaster ride, then To Catch a Thief was a slightly more sedate roller coaster in a ritzier neighborhood. About as inconsequential as a movie can be, this third collaboration between Alfred Hitchcock and Cary Grant succeeds effortlessly on wit, scenery and star power. (more…)
If you thought it was hard getting wages from him when he was alive, try getting wages from a dead king.
It’s hard to believe that Ridley Scott and Russell Crowe have been going steady for than a decade, and if this movie is any sign, the relationship might be going a bit stale.
Gentlemen in England now abed shall think themselves acursed they were not here, and hold their manhoods cheap.
Just 29 when he made this, Kenneth Branagh fired a shot across the bow of no less a figure than Laurence Olivier, who had, forty-five years earlier, also directed and starred in his own adaptation
There are few things more fundamentally encouraging and stimulating than seeing someone else die.
Legendary French director François Truffaut famously said that it was impossible to make a truly anti-war film, because film inherently glamorizes everything it depicts. That quote is hard to reconcile, however, with the evidence of Stanley Kubrick’s first truly great movie. (more…)
This is 1918. Things have changed.
The dazzling flying sequences in this movie are worth the price of admission all by themselves. This is a good thing because the story is nothing to write home about. Much like its contemporaries, Grand Prix and The Battle of Britain, The Blue Max presents a somewhat shallow, sudsy story set against a beautifully photographed backdrop of aerial combat in World War I. You’ll remember this movie for those scenes (and scenes of Ursula Andress barely wearing a towel) long after you’ve forgotten what the whole thing was all about.
Give us your bombers, sir, and you can have our baskets.
In late August of 2003, there was a special screening of this film at the Pentagon, a few months after President Bush declared “Mission Accomplished” from the deck of the U.S.S. Abraham Lincoln. The Department of Defense was not shy about their belief that the film offered valuable and necessary insight into the problems of fighting an insurgency in the Islamic world. In short, the American military had no illusions that the fight in Iraq was far from over, even if the politicians were pretending otherwise. If you needed any other evidence that this forty-year-old film was still uncommonly relevant and current, note the film was also banned by the French for five years after its release. Clearly, the French didn’t like to be reminded of past transgressions that far outstrip anything that U.S. forces in Iraq have been accused of.
From my way of thinkin’, sir, this entire mission is a serious misallocation of valuable military resources.
Saving Private Ryan is almost two movies in one. The first is a short but intense 30-minute piece about the Omaha Beach landings while the second is a more traditional “unit” picture running about two-and-a-half hours. Only the presence of the same actors in both ties the two parts together. Each could probably stand separately but folded into the same film, the first part helps give the second, longer narrative layers of meaning and emotional weight that it wouldn’t otherwise carry.
This isn’t just a thousand to one shot. This is a professional bloodsport. And it can happen to you. And then it can happen to you again.
The 24-hour race at Le Mans every June is still considered one of the ultimate tests of driver, crews and cars, but in 1970, when this film was made, it was even more so. This was before many of the safety features drivers now take for granted and when the cars were insanely powerful and fast. The Mulsanne straight was still more than two miles of flat-out, unbroken driving, with cars reaching over 230 mph before braking for the next curve.
Steve McQueen didn’t write, direct or produce this film, but it was still in every way his baby. He wanted to make the ultimate racing film. When not acting, McQueen raced cars and motorcycles for real, much to the horror of the studio executives who coveted the box office he brought in. McQueen was no dilettante, either. He was a serious driver who was competetive in virtually everything he raced and was well respected by his fellow racers. To them, he was just one of the guys who also did some acting on the side.
Oh, the Cubans. I love the Cubans. They are so wild!
Topaz plays more like a Masterpiece Theater adaptation of Leon Uris‘ novel than it does an Alfred Hitchcock film. Long, deliberately paced and mostly lacking the dark humor that typified his other movies, Topaz demands patience of its audience. That patience is rewarded with an intelligent, if subdued motion picture experience.
I want everyone under my command to be drunker than a fiddler’s bitch by nightfall.
Major Dundee is one of Sam Peckinpah’s early works, a highly stylized Western that fits perfectly the outsized performances of its stars, Charleton Heston and Richard Harris. Neither the story, the dialogue or the acting can be called realistic, but it is what it claims to be, a rousing entertainment.
