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Monsieur Spade (2024)
Stylish old-time radio play
This is a very dark series, and I don't mean in the sense of noir. At least 50% of the shots are at night, in the dark, and pretty much invisible on any normal screen. Evidently the producers couldn't afford lights for the sets. As a result, it is very much like an old-time radio play, and I have to assume that was intentional. Surprisingly, that works OK.
I'm a huge Hammett fan, and usually find the screen adaptations lacking. This one is not based on an actual Hammett book, so I didn't have high expectations for it, but possibly for that reason I enjoyed it very much. Owen's Spade is a little more sophisticated than the one we're used to, and he's a brilliant actor, so is riveting every time he's on the screen, which is pretty much every scene. The rest of the cast is fine as well, especially newcomer Cara Bossom and the luminous Chiara Mastroianni.
The story is ultimately a little implausible, especially the ending, but many of the Continental Op stories were implausible in very much the same way, so the writers are being pretty true to Hammett's legacy.
This is well worth watching if you enjoy stylish, well-acted noir. And if you have a TV or projector where you can crank the brightness up to 12; 11 isn't good enough.
Late Bloomers (2023)
Fine human drama, but not a comedy
This is a fine drama, that does a decent (if not groundbreaking) job of dealing with such topics as self-exploration and personal growth, responsibility, age, infirmity, and Alzheimer's disease. Ann Gillan is always excellent, though I think the role of "28-year-old American" might have taxed here enough that she wasn't able to bring as much nuance to the role as we know she is capable of. Malgorzata Zajaczkowska has been absent way too long from the US screen, she is a delight.
However -- I can't emphasize this enough -- this is not a comedy. Whichever studio executive decided to classify it as such (including the careful and misleading selection of scenes in the trailers) needs therapy. And if they genuinely thought that it is a dark or black comedy, then they need some remedial time in film school to learn what the terms mean.
So if you're looking for a comedy to watch, by all means watch this interesting and well-acted human drama about some serious themes, but have an episode of Selfie or Coupling on hand to wash it down afterwards and bring you back to a happier place.
Match Me If You Can (2023)
Much better than I expected
As an old boomer guy I'm not really in the demographic for this movie, and I put it on for background noise while doing something else. I didn't expect it to begin with people battling zombies in a shopping mall! (OK, not real zombies, but still...) I ended up giving the movie 90% attention throughout, instead of the 15% I'd originally planned. It has an endearing main character, some delightfully quirky bits (the zombies, the crab and puffer fish, lawnchair man,...), and a plot which was totally predictable but still left open some questions about how it was going to unroll. Another director could have given the movie a screwball pace and tone, or made it cloyingly sweet, but that would have been a bad choice. They maybe veered a little to far in the 'sedate' direction for this one, but it works.
In 1999 there was another romantic comedy with a crab, Simply Irresistible (with Sarah Michelle Gellar, and Patricia Clarkson). If you enjoyed that movie, I would say this one has a very similar overall flavor...though they are very different movies, and the acting in that one was overall far far better.
Mon chien Stupide (2019)
Not a French story!
Some of the other reviews went out of the way to talk about how French the story is. In fact, it is adapted from a story by John Fante, about as American a writer as ever there was: the square outside the LA Public Library is named for him, and some of the 1950s 'beat' writers acknowledge his influence. That the adaptation seems so modern and appropriate to its location is a real testament to the skill of the director and other writers.
The acting is superb, the setting perfect and beautiful, and the story will resonate with anyone who has ever had a brush with midlife angst. Funny enough to not be depressing, dark enough to not be just fluff, and the puppy is cute.
Poker Face: Dead Man's Hand (2023)
Sets up the series, but makes no sense if you think about it for 2 seconds
All sorts of things wrong with the episode. Why kill Natalie? Better to stall her until after the con, then turn the mark in; that way he'll be too busy with his defense to come after you. Even maybe bring Natalie in on the con, telling her it is further punishment for the mark. Charlie gets revenge for Natalie by tipping off the mark, who she knows to be a really bad guy, would she do that? Frost Jr. Is afraid of his father's scorn, but what could the old man do to you that is worse than killing yourself? If the old man is so unforgiving, why does Frost's assistant, who was active in the con, remain working for him?
Other than that, the pace is good, Natasha Lyonne is super likable as the main character, and the car is great. (I learned to drive in one, though my mom's Barricuda was olive green and the racing stripe was black.) I assume the sloppiness was an unavoidable consequence of setting up the rest of the series. I hope future episodes make more sense.
The Storied Life of A.J. Fikry (2022)
Some excellent acting, overlong adaptation of George Eliot classic
If you've read Silas Marner you know the story: grumpy misanthrope loses valued treasure, inherits young daughter who replaces it and restores his life. I hope the author of Fikry acknowledges the debt. The NYC literary world-rural New England axis, which forms the setting of this retelling, is pretty tired at this point; you have to be an elite college lit major to think it has any bearing on the real world, but in a movie at least it provides an excuse for beautiful settings.
In the eponymous role Kunal Nayyar is fantastic in every way; I hope this role brings him many more. Lucy Hale is also outstanding, and Arquette is very good. Of the various actresses who played Maya, the youngest were full of energy and charm. As for the rest, they were meh to bad, but it is not clear whether it is the fault of the actors or the writing. Blair Brown as teen Maya was a sad sack and devoid of character; Christina Hendricks as Ismay was self-absorbed, angry, and unlikable; and Scott Foley as Daniel was not at all believable as a successful writer (or even as a human being).
The movie would have been greatly improved had it wrapped up the loose ends quickly after the pivotal event near the end, but instead it dragged everything out under the assumption that anyone cared about those subplots. We didn't.
The Case of the Christmas Diamond (2022)
Entertaining for what it was; mystery not totally predictable
Look, we all know where ION movies sit in this hierarchy: a step down from Hallmark in terms of budget and actors, and usually even more saccharine. This was no exception, with OK (if stereotypical) acting all around, though rather extreme overacting on the part of the matriarch. The pretty protagonist had more personality than is usual for ION movies, even more than some Hallmark movies. The mystery itself was not bad, at least not guessable within 5 minutes. For me there was one real hole (small spoiler coming): the espresso machine was supposed to cause the power outage when she hit the brew button, but the main power draw in an espresso machine is the boiler element, and that would have already been on (you can't draw espresso from a machine you've just switched on); the power draw of the pump is minimal, around 100 Watts for a Nema motor driving a rotary pump. Also, this 'barista' only half-loaded the portafilter; she was planning to fill a small samovar from that? Picky, I know, but when they sourced a decent commercial espresso machine maybe they could have borrowed the dealer's expertise for a bit?
A Slice of Chicago Romance (2022)
Have some respect
A bit of a muddle, but here's what I think is going on: a bunch of super-WASPy looking people pretend to be Italian so that they don't have to remove the original names from their restaurants. They make what to my eyes looks like Atlanta-style pizza, basically a kind of tomato-covered taco, and can't understand why nobody in Chicago, which has its own pizza tradition, want to buy it. They jump to the wrong conclusion, which is that an even worse pizza chain down the road is siphoning off their business. No doubt because they've seen millions of movies like this one, the main characters decide that the way to compete is combine one restaurant's crust with the other restaurant's toppings. Since neither is recognizably an ingredient in "pizza" in Chicago, it is unlikely to work, but through the miracle of TV movie magic they get enough of the third restaurant's business to stay afloat. Maybe even earn enough to finance the next movie's restaurant, which will be a kosher-style lobster-and-pork-ribs joint in Brooklyn.
"Evanstown?" Seriously?
Un asunto privado (2022)
Fun, but don't examine too closely
This was great fun: beautiful photography, well-acted, with the crisp pace of action comedies of an earlier era. Aura Garrido in the starring role gave a sparkling, magnetic performance, and her costar Jean Reno was solid as ever, with excellent chemistry between the pair. Ángela Molina as Garrido's mother doesn't have a large role, but holy cow she's a good actor, and every bit as beautiful as she was in the Bunuel films of the 70s.
Now, for some bad: (1) the show is full of anachronisms (as others have mentioned), normally not a big problem but in this case you start to notice them and they become a bit intrusive; (2) the main character actively and annoyingly avoids opportunities to reveal the bad guy on many occasions; (3) several times she switches from "this person must be the murderer" to "I'm going off alone with this person to find a clue" in a matter of seconds; (4) she has superhuman powers of recovery from serious injuries; (5) the ultimate motivation for the murders is not at all convincing.
Had this been an adaptation from an established book it would have been better. Crafting a good mystery requires great skill, and even the great screwball mysteries of the last century (eg the ones written by Craig Rice) worked not only as comedies but also as interesting, clever puzzles. This one is seriously lacking. However, I'm still going to give it 8 stars, just because it was so much fun to watch.
Two more things: (1) Absolutely watch it in Spanish (though switching on a firestick is harder than it ought to be). (2) If you like Reno in this show, seek out the movie Wasabi.
Pygmalion (1938)
Superior preboot of My Fair Lady
This is a scene-for-scene nonmusical premake of the hit My Fair Lady, with Leslie Howard doing a superior job in the Rex Harrison role from the later original. The delightful Wendy Hiller does no singing in this preboot, but of course the same could be said for Audrey Hepburn in the original.
French Exit (2020)
Slow, not a comedy, disappointing acting except Coyne
I was really looking forward to this film: an atmospheric, mordant comedy with actors I admire, filmed in Paris -- what's not to like? Well, this movie, I'm afraid. It isn't a comedy, for one thing, aside from a *very* small number of slightly funny dark moments. Paris only features in one bicycling scene, other than that it could be any set. As for the acting, the real standout is Susan Coyne, who is completely believable as a real human being; unfortunately, her role is small. All the rest of the cast overact throughout, with the possible exception of Lucas Hedges, who *underacts* (which is not so terrible for his role as the rather limp son). Pfeiffer, Poots, and Mahaffey are all capable of so much better. For sure they've all been in sprightly vehicles that prove the wearisome pace of French Exit was not their fault.
The director is obviously aiming for a Fellini vibe, maybe Juliet of the Spirits. He doesn't get there. Even Giulietta Masina -- always riveting in the Fellini films -- couldn't save this. If you must watch it, use a device or streaming service that lets you speed up the playback. This might be tolerable at 1.25 speed.
Unknown (2011)
Enjoyable near-remake of Mirage
The three archetypal amnesia thrillers are Hitchcock's Spellbound (1945), Dmytryk's Mirage (1965), and Limon's The Bourne Identity (2002). Of these, Spellbound is of course the best (because Hitchcock), but Mirage is my favorite. This move is fairly obviously a reimagining of Mirage, so much so that I was surprised not to see it credited.
The movie works well and is very watchable, though just a hair worse in every way than the earlier movie. For example, Liam Neeson and Diane Kruger are great as the two main characters, but Gregory Peck and Diane Baker were better. Bruno Ganz is wonderful Ernst Jürgen, but the private detective role was played by the inimitable Walter Matthau in the original. And baddie Olivier Schneider in this movie is practically forgettable, while Jack Weston, usually a comic actor, was full of screen-grabbing menace whenever he appeared in Mirage.
If you haven't seen Mirage, see that one first or instead, unless modern effects are more important to you than first-rate directing, screenwriting, and acting. If you *have* seen Mirage, and enjoyed it, then you'll like this one too. The plot is just enough different that it won't be *completely* predictable.
Brúðguminn (2008)
Not a comedy
I'm reviewing this now-old movie because it is currently on Hulu where it is described as an "uproarious comedy", and I want to save anyone coming here from Hulu to learn more about the film some pain. It is not a comedy, let alone an uproarious one. It does have some funny moments, notably the opening scene, but it is generally very much a dark, angst-filled drama. The setting is spectacular and some of the acting is very credible, so it is worth watching, but know what you're getting yourself into.
De surprise (2015)
Wonderful dark comedy
My expectations were low because of the trailer, but this dark comedy was both less dark and less predictable than I expected, and honestly one of the best foreign language films I've seen in a long time. The direction is tight and just about perfect. You can see the influence of both Wes Anderson and Francis Veber in it, especially in the atmosphere, but unlike WA it isn't so over the top as to take you out of the movie, and the comedy is less broad than in a FV film.
Jeroen van Koningsbrugge is completely believable in the title role, and while Georgina Verbaan's role is less complex she does have the difficult task of being a compelling romantic target for a without falling into a classic trope, and I would say she got it spot-on. The other actors are fine in roles that however are fairly one-dimensional
Visually the movie is stunning, and it has some great cars; don't watch it on a small screen if you can avoid it. An American remake would probably make it all about the car chases, which here are just the right length.
I wish Mike van Diem had more film credits, but apparently Hollywood sucked his soul and he spent 15 years recovering. The Surprise was a hell of a comeback.
Emma Fielding Mysteries: More Bitter Than Death (2019)
Not very good, even for the genre
Hallmark mysteries are usually great when you're (a) in the mood for a mystery, but either (b) need to be doing something else while you watch, or (b') are too tired to do much deep thinking. They're the modern equivalent of the numerous light B-movie mysteries of the 30s and 40s.
The previous Emma Fielding mysteries were good examples of this. This one, though, is not very good.
The main problem is Mark Valley. Valley is usually a very good actor, who starred in two of my very favorite TV series: Keen Eddie and Human Target. He was excellent in both. In this one, though, he's simply terrible. Wooden, loud, and all in the phoniest of phony British accents. (So bad, in fact, that I was sure it was going to be a plot device.) Surely he knows better after starring in a UK series?
The rest of the acting is OK, though Sharon Taylor is also unexpectedly bad as the sheriff (is something wrong with her back?). Courtney Thorne-Smith is adequate, but doesn't seem to have her heart in it.
Unless you are desperate, give this one a miss.
The Treasure Seekers (1996)
Early appearances of
The Story of the Treasure Seekers is the first of the "Bastable" series by E. Nesbit, an English author of children's books who is practically unknown outside of England. This adaptation is most notable for its excellent cast, including early appearances by Felicity Jones and Keira Knightley, an over-the-top bad-guy performance by Ian Richardson, and Peter Capaldi before he developed his more colorful vocabulary. (Most of the other players, both major and minor, will be immediately recognizable to anyone who watches British TV or movies.) There's not much plot, and there are so many characters that you don't really anchor to any (Camilla Power and James Wilby probably have the biggest roles), but it manages to be fairly entertaining throughout. Overall it feels like it would fit in well among the better of the live-action Disney movies of the 60s and early 70s.
Dorfman (2011)
OK if predictable romantic comedy/homage to L.A.
As a love letter to modern L.A. it does a great job, though with less nuance than, say, L.A. Story. Sara Rue is likable in the eponymous role, and she grows quite a lot in the film though rather more quickly than is credible and in a fairly predictable way. Her take on the "I have no filter" character is convincing, but the character itself is a little hackneyed. Her costar Haz Sleiman (Cookie) is very very good. The secondary characters are mainly OK though generally not believable as humans.
Unfortunately, Elliott Gould -- one of my very favorite actors - gives what has to be the worst performance of his career. His dialogue is full of clichés about old Jewish men of at least half-a-generation above him, the lines coming out of his mouth do not fit him at all, and he is obviously aware of this as he delivers them. As he has by far the strongest presence of any actor in the movie he dominates every scene in which he appears, and the movie suffers as a result.
From the description this could have just been simple Hallmark fare, but it has more to offer than that. It is worth watching if you're looking for an uncomplicated, reasonably funny urban romance, and willing to overlook the main plot line and some of the worst dialogue excesses while keeping an eye out for the great visuals and some of the genuinely funny interactions between Rue and minor characters like Bubba Ganter, Sonya Eddy and the wonderful Tonita Castro.
The Hundred-Foot Journey (2014)
Déjà vu
So, you're Lasse Hallström and you decide to make a movie. Your protagonists will be itinerants, traveling from place to place until finding themselves in a charming French village. There they will introduce the locals to an exotic and slightly magical cuisine, with recipes passed down from the cook's mother and enhanced by special ingredients brought with them in their travels. The food will all be spectacular, and you will film it beautifully.
When the newcomers first arrive many locals will shun them, try to drive them away. The lives of the newcomers will get more and more intertwined with those of the locals, finally all antipathy is overcome and the newcomers become fully accepted. At that point wanderlust returns to the main cook, who you won't let get very far, and the film will end with the wanderers now a permanent part of the village.
The movie will star a young Juliette Binoche type, and be called... Chocolat.
14 years later you will reboot it as The Hundred-Foot Journey.
--
I enjoyed this film very very much, but it really is an obvious rehash of Chocolat. The acting is quite good: this is one of Om Puri's best performances (in his Bollywood movies he is often forced to overplay his part), and Mirren is of course fabulous in everything, even pretentious Greenaway twaddle. The beautiful Charlotte Le Bon (who does look remarkably like a young Binoche) was good but honestly the role didn't call for much; I would like to have seen her character given more wrinkles. (She also didn't succeed in hiding her Canadian accent when speaking English.) Manish Dayal is likable and does a credible job, though an actor from India or the NRI community in England might have brought more edge to the role
It was a delicious film to consume, but not especially challenging in any way. Like chocolate.
Please Kill Mr. Know It All (2012)
Woody Allen on Prozac
Please Kill Mr. Know It All feels a little like a Woody Allen movie from mid-late 90s (think Bullets over Broadway or Mighty Aphrodite), but with all of Allen's parts and dialogue edited out then the filmed slowed down a bit. The result is a situational comedy which is quieter than one would expect from the plot setup, with fewer easy gags, but still entertaining.
Mr. Know It All is the nom de plume for Sally, a columnist who gives advice on everything from love to investments. As the column's popularity takes off, Sally and her editor decide to preserve the fiction that the column is written by a man, and illustrate the column with a portrait of a man - Albert - that Sally sees in a movie theater. Albert also happens to be a hit man, who is not pleased by his sudden conspicuousness. Complications ensue.
Although the movie some pacing issues and a fairly predictable plot, the script is well thought out and the actors are appealing and do a credible enough job to make the movie work.
Having Wonderful Crime (1945)
Based on a Craig Rice novel
This is based on a novel by Craig Rice, who wrote several very funny mysteries involving the three main characters. (Rice also scripted a couple of the Falcon movies.) This movie is reasonably true to the spirit of the novels, though would have been better if Rice was more directly involved in its writing. Malone has featured in a few other movies, but Helene and Jake Justus (who were in all but one of the Malone novels) are oddly absent in the other movies. There was also a radio series and a TV series. A few months after this movie was released, Rice was featured on the cover of Time Magazine, the first mystery writer to be so honored.