In this horror comedy from director Peter Jackson (Lord of the Rings), Michael J. Fox stars as a charlatan ghostbuster who can communicate with the undead. After many of the local ghost community start disappearing, Fox gets roped into solving the mystery, which involves a 20-year old mass-murder at a nearby mental institution. If it sounds convoluted, it is. The narrative is over-complicated, involving too many characters and flashbacks, but there are enough elements here that you’re likely to find at least some of them interesting.
Leo McCarey won the best director Oscar for The Awful Truth, released the same year, but told the Academy they’d awarded him for the wrong picture. He may be right. Make Way for Tomorrow is a disarming, bonafide love story between an elderly couple (Victor Moore and Beulah Bondi) who are forced to separate when the bank forecloses on their home. The film is remarkably restrained and unsentimental for its time. The characters constantly mask their true feelings, fending off melodrama by acting against our immediate expectations.
Peter Jackson’s Lord of the Rings films are among my very favorites of all time, so The Hobbit is doomed to suffer in comparison. If you’re not a devoted fan of Middle Earth, the first half of An Unexpected Journey will probably feel a bit cumbersome. Jackson should have trimmed 20 or 30 minutes (starting with the oddly wooden cameo performances from Ian Holm and Elijah Wood). But rest assured the pace does pick up and the film does find its action/adventure groove by the end.
It’s fun to watch Greta Garbo defrost in Ninotchka. She plays an oh-so-serious Russian sent to Paris to straighten out the sale of some allegedly stolen jewels. Melvyn Douglas gets in her way. At first, he’s an annoyance, but a curious one. Her no-nonsense attitude toward him makes for a unlikely cinematic romance. The highlight of their courtship is a restaurant scene where Douglas is determined to make Garbo laugh. He tells joke after joke to no affect. Then Douglas leans back too far in his chair and falls on his ass. This results in one of the most joyous reaction shots from the Golden Age of Cinema.
