Typical of December, the final month of 1988 was full of releases vying desperately for awards consideration, especially Oscars. Eight films released in this month received Academy Award nominations, including all five of the Best Picture nominees.
As always, we start with what I've seen...
Barry Levinson's Rain Man was the box office behemoth of the year and winner of the Best Picture Oscar the following year. It embodies everything a typical "best picture" is, but mostly it's a rather simplistic portrait of autism produced at a time when virtually no one knew anything about the disorder. A quarter century later, many people can probably tell you something about it, most mistakenly that it's caused by childhood vaccinations. Dustin Hoffman's autistic savant is the very rare exception among people on the spectrum, but in 1988 it led most people to believe that being autistic meant being able to count cards and take the house in a Las Vegas casino.
A blog mostly dedicated to cinema (including both new and old film reviews; commentary; and as the URL suggests - movie lists, although it has been lacking in this area to be honest), but on occasion touching on other areas of personal interest to me.
Showing posts with label Michelle Pfeiffer. Show all posts
Showing posts with label Michelle Pfeiffer. Show all posts
Wednesday, December 11, 2013
Tuesday, November 27, 2012
Dark Shadows Movie Review
I’ll say off the bat that I was primed to severely
dislike Dark Shadows, Tim Burton’s updating
of the 1960s daytime soap opera about a gothic manor in Maine with strange
supernatural occurrences. I have been less than enthusiastic – to put it diplomatically
– about most of Burton’s work in the last ten years. When I think back on his
career as a director, what I’ve enjoyed most are his films that are straight
comedies. He has a real knack for the bizarrely funny and whimsically macabre.
I think of Beetlejuice, Mars Attacks!, and Pee-Wee’s Big Adventure as his most enjoyable features. Recent
films like Planet of the Apes, Charlie and the Chocolate Factory, and Alice in Wonderland have been simply
odd, overblown and bloated. Then there was the matter of the advertising for Dark Shadows, which I thought made it
look like a 1970s kitsch piece featuring yet another in a long and increasingly
exhaustive series of offbeat Johnny Depp performances (his eighth in
collaboration with Burton). Imagine my immense surprise to find a lighthearted
homage to a TV series that Burton and Depp both claim to have loved as
children.
Sunday, May 1, 2011
25 Years Ago This Month: May 1986
Anyone remember a movie called Sweet Liberty? It's about a guy who writes a book on the American Revolution, sells the film rights and then the film crew comes to town to make the movie and throws his life into upheaval. It was directed by and stars Alan Alda. Also with Michael Caine and Michelle Pfeiffer. It was also Lillian Gish's second to last movie. I have vague recollections of catching bits of it on cable TV when I was a kid and skipping right past it. Well, it opened 25 years ago this month.
There were several more memorable films opening that month, so it's no surprise that in the lead-up to the summer box office bonanza, Sweet Liberty only pulled $14 million.
After all, Top Gun went on to be the top grossing film of the year, raking in a whopping $177 million (Hey! That was a lot of money back then). This film really needs no introduction, right? Tom Cruise, Anthony Edwards, Val Kilmer and Rick Rossovich playing beach volleyball shirtless? Ring a bell? Cruise and Kelly McGillis enjoying passion with soft blue backlighting to the tune of Berlin's "Take My Breath Away."
Sunday, July 4, 2010
The Age of Innocence Movie Review
Martin Scorsese’s adaptation of Edith Wharton’s Pulitzer Prize winning novel, The Age of Innocence, has not really received its due praise. Perhaps because at the time it seemed such a departure for the director of quintessential New York stories of Italian Americans, often involved in crime. Now that 17 years have passed and Scorsese has gone on to create a body of work with much broader settings and themes (Kundun, The Aviator, Shutter Island), it’s fair to say there is little unusual about seeing it as very much a Martin Scorsese Picture.
Newland Archer (Daniel Day-Lewis) is one in a long line of Scorsese male protagonists trying to escape from the clutches of a world not of his own choosing. Consider Charlie in Mean Streets coming to terms with his lack of faith; Travis Bickle trapped in a sewer of crime; Jesus of Nazareth wrestling with the forces pushing him; Teddy Daniels in Shutter Island a prisoner of his own psychosis.
Newland Archer (Daniel Day-Lewis) is one in a long line of Scorsese male protagonists trying to escape from the clutches of a world not of his own choosing. Consider Charlie in Mean Streets coming to terms with his lack of faith; Travis Bickle trapped in a sewer of crime; Jesus of Nazareth wrestling with the forces pushing him; Teddy Daniels in Shutter Island a prisoner of his own psychosis.
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