Last Seen Movie - The Latest Movie You Have Seen; ratings

[Reza]

The Legend of Tarzan (David Yates, 2016) 7/10

A revisionist take on the familiar iconic character complete with rewritten historical facts and CGI galore. Forget all the nitpicking and enjoy this spectacular adventure yarn which comes alive during the flasback scenes depicting how Tarzan came to be shipwrecked off the Ivory coast and got raised by gorillas. All the scenes with the primates are hypnotic and when they (including Tarzan) take to the trees it's dizzying fun like being on a roller coaster with the dazzling beauty of the Gabon forests sweeping by under their feet. The main plot has Viscount Greystoke (Alexander Skarsgård with splendid 21st century physique and vapid expression) returning to Africa with his feminist - here American - wife (sexy Margot Robie) and "Man Friday" comic sidekick (Samuel L. Jackson) to face-off colonial skullduggery in the shape of a mincing crooked envoy (hammy Christoph Waltz) of the Belgian King. The film ends with a superbly shot animal stampede with man and beast entwined together in a breathless frenzy. Although every animal shown - gorillas, lions, crocodiles, hippos - is courtesy of CGI, it does not lessen the impact of creating an euphoric wonder that brought out the child in me. It's all geared towards the comic book mentality of today's moviegoer but is still great fun. My first film in I-MAX and it was spectacular.

[Reza]

A Woman's Secret (Nicholas Ray, 1949) 4/10

Silly "B" film with noir overtones has a good cast and is one of director Ray's early films. A woman (Maureen O'Hara) confesses to shooting her protegé (Gloria Grahame), a sultry but neurotic singer in a nightclub. Through flashback's we learn what really happened as the police and the woman's boy friend (Melvyn Douglas) don't believe her story about the shooting. The film starts off promisingly but getting to the denouement is a chore as the screenplay doesn't know how to come up with an ending in line with the mystery of the beginning. The introduction of a comic character - the cop's wife - during the second half is bizarre as it does not gel with the overall mood of the film. O'Hara and Grahame are both good but are let down by the weak plot.

[Reza]

The Shallows (Jaume Collet-Serra, 2016) 6/10

Terrifying premise: wounded surfer (Blake Lively) gets stuck on a huge rock in the sea with a giant white shark between her and the shore as it circles and tries to wear her down. The film is completely let down by a ridiculous ending and a shark that looks like it's made from papier mâché. Lively gives an excellent physical performance as the frightened woman who decides not to give up and instead tries to be one step ahead of the crafty shark.

[Reza]

Summer Storm (Douglas Sirk, 1944) 6/10

Lifeless version of a Chekov story (the first time one of his works was filmed) - a lowly peasant girl (Linda Darnell) uses various men - fellow peasant and husband (Hugo Haas) to escape a lecherous father, a judge (George Sanders) who is seduced away from his fiancé (Anna Lee) and a foppish aristocrat (Edward Everett Horton) who gets enchanted by the wily woman - to get ahead in life. An early very low budget Sirk with good production values.

[Reza]

At Long Last Love (Peter Bogdanovich, 1975) 8/10

This is a parody of 1930s musicals and Bogdanovich's homage to Cole Porter and Van Nest Polglase (who designed the enormous art deco sets in so many of the old films from that era). Also the film is really not a disaster - one that virtually finished off this director's career. Burt Reynolds and Cybill Shepard may not be Fred and Ginger nor do they have their dancing and singing skills but they still manage to carry off this piece of fluff designed around 19 wonderful Cole Porter songs. The silly plot consists of madcap shenanigans - getting drunk on champagne, driving around in fancy cars and wrecking them, attempting to tap dance, attending the theater, trading partners and eventually falling in love - between a madcap playboy millionaire (Burt Reynolds in Clark Gable mode), a daffy heiress (Cybill Shepherd who can actually sing and dons Carole Lombard's mantle), an Italian gambler (Dullio Del Prete) and a Broadway star (the delightful Madeleine Kahn). Add to this mix a butler (a droll John Hillerman), a maid (a very funny Eileen Brennan) and a rich matron (haughty Mildred Natwick) and you have once again a charming reminder of Fred, Ginger, Eric Rhodes, Helen Broderick, Eric Blore and Billie Burke. Bogdanovich and Sheperd (who were an item at the time) make it all seem like fun while indulging in their passion for Porter. The songs are wonderfully incorporated into what plot there is with Bogdanovich keeping a light touch throughout. The film may seem rather trivial but it's certainly never boring. A delightful surprise which needs a serious re-assessment.

[Reza]

The Dressmaker (Jocelyn Moorcroft, 2015) 3/10

A film which is quirky to the point of being annoying which the Aussies showered with awards. A glamorous woman (Kate Winslet) returns to her outback Australian hometown with sewing machine in tow to exact revenge on neighbors who did her wrong when she was a child. The film plays like a cartoon at full volume with every outlandish moment underlined in garish strokes with each character more eccentric and over-the-top than the next especially alongside a calm and collected Kate Winslet. Everyone seems to be playing to the gallery in search of awards - the disheveled hermit-like old mother (Judy Davis), a filthy crone straight out of a Grimms fairy tale, the campy cop (Hugo Weaving) who likes to prance around in skirts and stilleto heels and squeals at the touch of a feather boa - both won awards as did Winslet along with the stunning gowns she wears to disrupt the townfolk. The absurd plot is all over the place touching on child murder, marital rape and domestic violence as it moves at a fast almost nonsensical pace. Winslet looks stunning in her Dior and Balenciaga inspired gowns and resembles "Gilda". Too bad she isn't Rita Hayworth. A big misfire!!

[Reza]

Hello, My Name is Doris (Michael Showalter, 2015) 4/10

Sally Field is sad, lonely, awkward and very annoying Doris, a spinster, who misconstrues a young office colleague's friendship and makes every effort to snag him with cringeworthy and disastrous results. Field is in full "sunny" mode in this coming of age tale - Field is now 69 - and makes a valiant effort at trying to find love even though life has passed her by. The screenplay works overtime into making the character a complete ass. Doris and her antics are not endearing although Field gives it her best shot but with zero credibility. The story has serious things to say about old age and what a bitch it can be especially for women. Too bad the writers presented this as a comedy which merely takes it into the realm of absurdity.

[Reza]

Everything is Thunder (Milton Rosmer, 1936) 7/10

Love triangle during WWI between an escaped Canadian POW (Douglas Montgomery), a German prostitute (Constance Bennett) and the detective (Oskar Homolka) who is pursuing the POW and in love with the prostitute. Small budget film has romance and suspense with an excellent Bennett who plays the part with a mixture of toughness and fragility. Pity her career took a dip so soon.

[Reza]

They All Kissed the Bride (Alexander Hall, 1942) 3/10

A pathetic attempt at screwball by Joan Crawford although it sorely lacks humour. The so called "fun" aspect is watching her play a tough businesswoman - heading a trucking company no less - who is "afraid" of intimacy with men so she rules over them with an iron hand until an author (Melvyn Douglas) makes her knees grow weak. It's impossible to imagine La Crawford growing weak in front of a man. She was too butch for that and it shows in her performance - all fake fluttering hands and body. She gets to dance the jitterbug and gets a big drunk scene. All in vain. Douglas, an old hand at sophisticated comedy, runs circles around her. Not even daffy Billie Burke or Roland Young can salvage this turkey. Crawford inherited the part from Carole Lombard when she died and gave her entire salary to the American Red Cross who had found Lombard's body after the plane crash that killed her. This was the only positive aspect of this wretched film.

[Reza]

Next Time We Love (Edward H. Griffith, 1936) 8/10

For all the soap opera ingredients on display this is surprisingly a fairly sophisticated view on marriage, ambition, infidelity and divorce. The plot covers the trials and tribulations of a married couple - a foreign correspondent (James Stewart) and an actress (the incandescent Margaret Sullavan) - as both find their careers coming in the way of their happiness. His roommate (Ray(mond) Milland) forms part of the love triangle. The first of four memorable teamings of Sullavan and Stewart and both are terrific here thanks to their exceptional screen chemistry.

[Precious Doll]

Still slogging away at the Melbourne Film Festival

The Academy of the Muses (2015) Jose Luis Guerin 6/10
Newtown (2016) Kim A. Snyder 5/10
Soy Nero (2016) Rafi Pitts 3/10
The Bacchus Lady (2016) Je-yong Lee 9/10
Harmonium (2016) Koji Fukada 7/10
Staying Vertical (2016) Alain Guiraudie 5/10
Kedi (2016) Ceyda Torun 8/10
Sieranevada (2016) Cristi Puiu 8/10
I, Olga Hepnarova (2016) Petr Kazda & Tomas Weinreb 7/10
11 Minutes (2015) Jerzy Skolimowski 4/10
Things to Come (2016) Mia Hansen-Love 8/10
Elle (2016) Paul Verhoeven 10/10

[Mister Tee]

You should try watching the earlier films made from Molnar's1909 Hungarian play, Liliom (Carousel's source material). Take your pick between Frank Borzage's 1930 Hollywood version with Charles Farrell and Fritz Lang's 1934 French version with Charles Boyer. You'll hate them both even more.

As it happens, I just watched the Borzage version a month or two back. You're totally correct: the vile "wife beating is just another form of love" theme is baked into the material -- even more noticeable without the score to distract you. That even certified liberals like Rodgers & Hammerstein opted for this as source material tells you just how necessary the women's movement was from the 60s on.

As for that score -- I can't say I love everything about it. I can't stand "This Was a Real Nice Clambake", and most everything associated with Carrie Pipperidge I can also do without (the miracle of Audra McDonald's breakthrough performance in the role was it made me forget till well into Act Two how insufferable the character usually is). But "If I Loved You", "The Carousel Waltz" and "You'll Never Walk Alone" are among R&H's greatest triumphs, and there's plenty of other good stuff (plus a great number in "Soliloquy"). Overall, this is the finest score the pair ever came up with.

[Kellens101]

Speaking of Henry King, I'm going to watch The Song of Bernadette again. I saw it for the first time about 4 years ago and I remember it being pretty moving and detailed in its portrayal of religious beliefs. Jennifer Jones, Charles Bickford and Anne Revere were all wonderful but I was blown away by Gladys Cooper's riveting performance. She should've gotten the Supporting Actress Oscar and it was her finest film performance that I have seen. And, yes, Carousel is a pretty dreary film adaptation of one of Rodgers and Hammerstein's best scores. I remember Oklahoma being better, but I haven't seen it in a few years and I'm curious to hear other's thoughts on it.

[Big Magilla]

I was going to bring up Henry King, but I forgot. Zinnemann directed the 1955 film version of Oklahoma! which was also less than a great interpretation of the material.

[The Original BJ]

The movie version of Carousel is indeed lousy -- for me, it's pretty clearly the worst Rodgers and Hammerstein film adaptation, which is a real shame given that it's probably their greatest work. Henry King (who directed the film, not Zinnemann) made some notable movies throughout his career, but he doesn't have a musical OR fantastical bone in his body, and as a result, the whole thing just sits there like a dead fish.

The domestic abuse elements indeed mark the show as a product of its time, though most contemporary productions attempt to handle this aspect of the storyline with more contemporary awareness (i.e. "What's the Use of Wond'rin'" is usually directed to make clear that Julie is a delusional battered wife), something the film version obviously couldn't have had the historical foresight to do. (Though the line where Julie declares that it's possible for someone to hit you hard and have it not hurt at all is pretty much always a tough moment to stomach.)

But those songs...lifeless and dull?! I co-sign everything Magilla wrote. "If I Loved You" and "You'll Never Walk Alone" are two of the most gorgeous songs of the last century, and Billy's "Soliloquy" is probably the greatest musical number the American theater has ever given male actors in its history. One of the finest scores ever, I think.