Intelligient, perceptive, and well-voiced tale told by and about an alienated and undisciplined 17-year-old boy whose social and academic failures are a complete mystery to himself. The kid, Holden Caulfield, isn't always wrong in his antisocial observations (that is, he's rarely entirely wrong), which makes the book that much more readable, but may make it of questionable value to younger readers who may find in it more validation for similar views than cause for concern. Absolutely on the mark, though; so much so that the setting -- Pennsylvania and New York in the early 50s -- is almost irrelevant. Written with verve and humor, and, concerning Holden, not entirely depressing.
****
Intelligient, perceptive, and well-voiced tale told by and about an alienated and undisciplined 17-year-old boy whose social and academic failures are a complete mystery to himself. The kid, Holden Caulfield, isn't always wrong in his antisocial observations (that is, he's rarely entirely wrong), which makes the book that much more readable, but may make it of questionable value to younger readers who may find in it more validation for similar views than cause for concern. Absolutely on the mark, though; so much so that the setting -- Pennsylvania and New York in the early 50s -- is almost irrelevant. Written with verve and humor, and, concerning Holden, not entirely depressing.
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**** Jack the Ripper (David Warner) resurfaces in London in 1893 and escapes through time in a machine built by H. G. Wells (Malcolm McDowell); Wells pursues him to 1979 San Francisco, where he falls in love with bank employee Amy Robbins (Mary Steenburgen). Thoroughly enjoyable science fantasy that may not make a lot of sense (what time travel story does?) but compensates nicely with vigorous script, engaging characters, and noteworthy performances, especially by McDowell and Steenburgen. Lets Jack be Jack and picks up Wells before he began writing his famous novels, making of him a much more palatable man (one might have expected him to be wearingly wise) whose naivete in the face of 20th century violence connects well with the pessimism in real life works like The Time Machine. Based on Karl Alexander's at-that-time-unfinished novel of the same name. **** Set in 1962, with gorgeous cars, a great soundtrack, and spot-on performances, Lucas' second film tells the story of one very long night in the lives of four teenage boys, two of whom, having recently graduated, must face the prospect of leaving their small California town for college. Entertaining, funny film that captures the spirit, naivete, and budding awareness of boys on the cusp of manhood. Stars Richard Dreyfuss, Ron Howard, Paul Le Mat, and Charles Martin Smith. With Candy Clark, Mackenzie Phillips, and Harrison Ford in a small role. Suzanne Somers is glimpsed as a teenage dream in a white T-Bird. Also with Wolfman Jack, as the voice of a generation. **** Delightful film starring Humphrey Bogart as a self-reliant fishing boat captain in Martinique shortly after the fall of France. Ernest Hemingway's novel is used primarily as a springboard to retell Casablanca, as Bogie gets mixed up with the French resistance, Vichy police, and a woman -- Lauren Bacall, in this case, making her screen debut (and shooting sparks all over the place). Fast-paced dramatic script, leavened with considerable humor and fabulous dialogue. Also with Walter Brennan in a terrific performance as Bogart's good-natured alcoholic pal and Hoagy Carmichael as a piano player. Written by Jules Furthman and William Faulkner. **** The lives of a woman, her best friend, and her fiance are disrupted when an incorrigible child falsely claims that the latter two are having an affair at the women's boarding school. Smartly cinematic adaptation by Lillian Hellman herself of her 1934 play The Children's Hour, and a powerful drama with splendid performances all around, including those of the children. Notably alters the bratty girl's lie (because the Hays Code wouldn't allow any suggestion of lesbianism), but beautifully preserves the essence of the story, proving that the best adaptations aren't always the most literal. Hellman also alters the ending, which should please all but the clinically depressed. Hellman's original story and title were restored in the 1961 remake, also directed by Wyler. **** Kaurismäki the director, working a certain kind of magic, creates a compelling film from a plain woman, very little dialogue, and lots of shots of match-making machinery. Kaurismäki the writer cleverly selects exactly the right scenes to tell his story about lonliness, despair, and the death by rote repetition of imagination. Kati Outinen is terrific (though that word suggests an energy her character doesn't possess) as a woman with no life and no skills for dealing with one. It all sounds very depressing when in fact it's nearly hypnotic. A standalone film, but the last in Kaurismäki's Proletariat Trilogy, preceded by Shadows in Paradise and Ariel. Finnish, with English subtitles. **** Much lauded short French fantasy film about a young boy (Pascal Lamorisse) whose unlikely friend -- a red balloon that follows him from place to place -- provokes differing reactions from the people he meets along the way. Undeniably cute modern fairy tale with imaginative situations and impressive photography only gets better as the viewer invests it with his or her own symbolic meaning. Features a music score and very little dialogue. 32 minutes. **** Snatch teams of a far future in which humans are horribly mutated kidnap those about to die in past catastrophes in order to people a new, healthy world. Fun time-travel adventure narrated by Louise Baltimore, a tough and cynical snatch team leader, and, alternately, by Bill Smith, the unhappy NTSB man in charge of investigating the 1980 mid-air collision of two passenger jets. Varley makes even his time-travel theory go down smoothly by giving us characters we not only care about, but who for the most part don't understand it any better than we do. Exciting and funny, and based on the author's own excellent short story "Air Raid." Varley also wrote the script for 1989's Millennium, starring Kris Kristofferson and Cheryl Ladd. **** Three brothers responsible for the rape and murder of an innocent young woman (Birgitta Pettersson) later seek shelter at her father's (Max von Sydow's) farm. Rich, complex examination of murder, morality, and religion, written by Ulla Isaksson and based on a medieval Swedish ballad, from which only the period and some of the ideas have been retained. Not a horror film, despite having inspired Wes Craven's The Last House on the Left (1972) and, more importantly, in spite of its violence: Bergman's realistic approach isn't intended to provoke excitement but to reveal the true face of brutality. Winner of the Academy Award for Best Foreign Language Film. **** Poverty Row film noir about a bitter piano player (Tom Neal) who accepts a ride from exactly the wrong person while hitching across country to marry his singer girlfriend. Shows its budget, but renders it moot with plenty of atmosphere and a deliciously dark storyline that includes a brilliant twist in the middle. Short (only 67 minutes) and to the point. With Ann Savage, who gives a performance that lives up to her surname. Based on Detour: An Extraordinary Tale by Martin Goldsmith. |
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