Why has young David (Ben Tibber) spent most of his short life in a Bulgarian labor camp? He doesn’t know, and neither do we. As the title suggests, I Am David wants us to experience David’s story through the eyes of a young boy who has never known anything but this camp, except for a few flashbulb memories of a fair-haired woman he knew in another life.
Hitchcock’s underrated I Confess may or may not not quite rank with his greatest masterpieces, but it offers perhaps the most compelling variation on the director’s favorite theme, the innocent man wrongly accused.
Wilson, a capable comic force in his own right, gets laughs too, but for the most part he’s content to play the laid-back straight man setting up Murphy’s punchlines. There’s an early scene in which, discussing their working relationship, Wilson uses a Harlem Globetrotters analogy to argue that he, the professional spy, should be team leader Meadowlark Lemon, and Murphy, a boxing champ, should be Fred "Curly" Neal, Meadowlark’s sidekick. Murphy, of course, ridicules this suggestion; and, whatever the ultimate relationship of their characters, which of the actors is Meadowlark and which is Curly is never in dispute.
Several weeks ago (but only five updates back) ago I mentioned I would be scarce through all of January, and for most of last month I hoped that life would return to normal by Groundhog Day or so. Alas, my January crunch overran most of February.
From nonagenarian writer-director Manoel de Oliveira, who’s been making movies for over seven decades, comes a sad, thoughtful character study of an aging French actor named Gilbert Valence (Michel Piccoli). On stage, in productions of Ionesco’s Exit the King and Shakespeare’s The Tempest, Valence gives impressive readings of the dramatic death-speeches of aged protagonists; but his own words in a key moment of frailty and finality, though equally haunting, are much more prosaic and anticlimactic.
Meg Ryan and Tim Robbins are cast somewhat against type: Ryan often plays bubbleheaded and Robbins brainy, but here Ryan is a science whiz, if a bubbly one, while Robbins is a grease monkey, if a thoughtful one. The real twist, though, is that Catherine (Ryan) happens to be the niece of Albert Einstein — and, while she has a brainy fiancé, he’s a twit, and her uncle Albert decides that she really needs someone like Ed.
The lion’s share of the credit for Ice Age goes to the sloth.
Ice Age 2 isn’t really a meltdown, but it’s no bolt from a Blue Sky.
The tipping point has been reached where I now wish that even the original Ice Age had never been made in the first place. Yes, even if it means no Scratt ever.
Ice Age: Continental Drift is more like a Happy Meal than a movie. It’s another serving of exactly the same product that millions of families have been served before and will come back to again and again. Its brand-name familiarity and reassuring sameness are its stock in trade. Nothing is different except for the toys; last time it was dinosaurs, this time it’s pirates. It’s more resolutely like the three previous Ice Age movies than they are like themselves.
As a collection of parts, almost an anthology of ideas, Dawn of the Dinosaurs is fitfully entertaining … Alas, Dawn of the Dinosaurs also marks Blue Sky Studios’ descent into the kind of crude and suggestive humor they once left to DreamWorks.
A Polish nun embarks on a trip of discovery in this gorgeous black-and-white period piece.
The Ides of March: my “Reel Faith” review.
This past Saturday, May 21, a major supernatural event predicted last week by Jimmy Akin occurred around 6:00 PM. Jimmy and I both witnessed it, as did many other people, although Jimmy was right there and got a much better view than I did.
Ian C. Bloom of Illumined Illusions has the most amazing analysis on The Sound of Music I’ve ever read. His commentary on Singin’ in the Rain is the only one I’ve seen to eke such interest out of the the modernist production number in the third act. And I like how he breaks up his commentary on Beverly Hills Cop into bullet points (something I’ve done a few times myself).
A moody, atmospheric fairy tale, The Illusionist is the story of one illusionist — Eisenheim, a fictional turn-of-the-last-century magician — being told by another, writer-director Neil Burger ( Interview with the Assassin).
It’s not without faults. At times the satire crosses over into silly farce, and, while the last act avoids the most obvious clichés, it’s still a bit tidy. And some of the film’s basic themes seem undermined by an unfortunate subplot involving perplexing decisions by more than one character. But if these faults can’t quite be overlooked, the film’s virtues are rare enough to make the whole package worthwhile.
One of the more striking marks of Pixar’s innovative stature and impact on the world of Hollywood animation has been their pioneering revival of the long-neglected animated short film prior to the feature (at least prior to animated features) as an industry staple.
Man’s own shadow, as much as the moon’s, lies across In the Shadow of the Moon, David Sington’s moving documentary of the U.S. Apollo program. An eloquent testament to the grandeur of creation as well as man’s unique place in it, In the Shadow of the Moon offers a remarkable look at the history and technology of the Apollo program, but an even more extraordinary glimpse of the men who lived it and made it happen.
In Time is a messier, more problematic film than The Adjustment Bureau, but I think I found it more interesting. It’s probably firing on about half the cylinders it should be, about par for Niccol. Still, I appreciate its ambition and ideas—qualities sadly rare in popcorn entertainment these days.
Copyright © 2000– Steven D. Greydanus. All rights reserved.