[7] John Wayne took home the Oscar for his performance as crotchety Rooster Cogburn, an alcoholic US Marshall recruited by a young girl (Kim Darby) to capture her father’s killer and bring him to justice. Wayne is low key as always, but it works pretty well for him. Except for Robert Duvall as the villainous Ned Pepper, the rest of the casting leaves something to …
[3] Katharine Hepburn plays an aspiring composer who falls in love with a successful conductor. He cheats on her, they split up, they miss each other, they get back together. Snore. Supporting player John Beal is five times more appealing than phoney baloney leading man Charles Boyer. There’s no chemistry between Hepburn and Boyer, and no believable reason they should ever want to stay together. …
[5] An odd and perhaps ill-fitting choice of material for director Mike Nichols (The Graduate). Jack Nicholson and Michelle Pfeiffer give decent performances, but James Spader leaves a greater impression as a backstabbing protege. Wolf focuses more on the psychological effects of becoming a werewolf and skimps on the visceral thrills. I have a problem with the way Nicholson reacts to his transformation — he …
[6] Five ladies of ill repute muster the courage to take the stand against their evil nightclub boss in this Bette Davis vehicle. Davis overacts a tad (doesn’t she always?), but Humphrey Bogart is reliable in the role of the tenacious district attorney. This is an instance where I’d love to have seen some of the off-screen action, but the film works remarkably well under …
[6] Henry Fonda is caught between a beleaguered WWII cargo crew and their vindictive captain in this oddly cheerful, lightweight drama directed by John Ford and Mervyn Leroy. James Cagney hams it up as the nutcase captain while William Powell makes a graceful big screen exit as the ship’s doctor. Jack Lemmon won the first of his two Oscars for his supporting role as an …
[6] On one hand, Arthur Penn’s take on Billy the Kid isn’t as whitewashed as other tellings. On the other hand, why should we care that some hot-headed simpleton ran out and got himself shot? Despite an admirable effort from Paul Newman, I couldn’t quite invest in the character as much as I’d have liked, but the movie still moves at a brisk pace and …
[4] George C. Scott stars as a police officer who follows a murder case that gets him embroiled in a mystery involving the Nazis and big oil. The film’s ahead of its time in vilifying the oil companies, represented here by none other than Marlon Brando. Scott’s character hits the nail on the head when he tells Brando: “You’re not in the oil business, you’re …
[6] This star-studded best picture Oscar nominee is credited for kicking off the boom of disaster flicks that plagued (or bedazzled?) the 1970s. It’s entertaining enough, though I much prefer The Towering Inferno. All of the Airport movies (there would be two more over the next seven years) are fun if for no other reason than watching major Hollywood stars and revered actors slumming it …
[7] Richard Gere plays a navy cadet who falls in love with a factory worker played by Debra Winger. The romance part of the story doesn’t work as well as Gere’s combative relationship with his drill instructor, played by Louis Gossett Jr. Director Taylor Hackford (Dolores Claiborne, Ray) does a remarkable job grounding the melodrama, especially in the tragic third act, but I have a …
[8] Director Hugh Hudson (Chariots of Fire) delivers an emotionally compelling adaptation of Edgar Rice Burroughs’ vine-swinging legend. The first half of the movie, depicting Tarzan’s childhood up through his discovery by an Austrian explorer (Ian Holm), outshines the last, but the movie still works well overall. Christopher Lambert (Highlander) does a good job bringing out the extreme pathos of a character caught between two …
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