by Dean | Dec 9, 2014 | General
Jane the virgin in Jane the Virgin, the new CW series, is still waiting till marriage to have sex, and it would be nice to see the show’s writers respect and satisfy that aim. Curiously, she is involved with a former playboy named Rafael (Justin Baldoni). (She’s no longer engaged to the police officer, who retains his taste for the interracial.)
It was good to see the talented Yara Martinez again on the Dec. 8th episode, but not quite believable that her character, the put-upon lesbian Luisa Alver, is hauled off to a mental hospital. Martinez, for good measure, has a conventional beauty and Yael Grobglas, as Petra, an unconventional beauty. Sleek and wispy-looking, Grobglas is beguilingly adept as a conniving but not wholly self-assured future divorcee.
Good acting and good looks prevail in Jane the Virgin: the show might be a milestone in commercial effort. And a funny one at that.
by Dean | Dec 7, 2014 | General
1993’s In the Name of the Father begins with almost risible melodrama about British vs. Northern Ireland confrontation before concentrating on the 1974 bombing of a Guildford, England pub and the arrest of the Irish foursome—the Guildford Four—accused of the bombing. This included Gerry Conlon, here played by Daniel Day-Lewis, on whose book (Conlon’s, that is) the movie is based. After the melodrama, the film nicely aspires to tell the truth about young people, hippies included, just as it reveals a stoic IRA leader to be coldly inhuman.
Woe is me, though: I have read that in its anti-British tendentiousness Father is a historical fraud, yet another phony docudrama. The Guildford Four may have been guilty, and in fact some of what we see does not have the ring of truth. The IRA leader in prison with Conlon is fictitious, but that’s okay, undamaging to the film. The rub is that one wants more truth than lies in a film which is assuredly partisan. We don’t want ambiguity all but rejected because director Jim Sheridan hates the British presence in Belfast. Only this, I believe, keeps Father from being recommendable.
In the Name of the Father (film) (Photo credit: Wikipedia)
by Dean | Dec 4, 2014 | General, Movies
Re the 1937 film musical, On the Avenue:
On the avenue, there is savory Irving Berlin music and some pleasurable singing and dancing.
Alice Faye is somewhat miscast as a jealous meanie, but as a performer she is a heartening jewel. Musically Dick Powell holds his own, and the unfunny Ritz Brothers do some pretty good hoofing. The hookiest song is probably “I’ve Got My Love To Keep Me Warm,” but “You’re Laughing at Me” and “This Year’s Kisses” also boast eminently likable and not too predictable melodies.
As romantic as it is mirthful, this vivacious flick was well directed by Roy Del Ruth.
by Dean | Nov 30, 2014 | General, Movies
Cover of Say Anything
A love story, Say Anything (1989) has the distinction of focusing on a teenaged boyfriend (John Cusack’s Lloyd Dobler) who is a Great Guy, however unambitious. The main proof that he’s a Great Guy is his romantic—or chivalrous—prowess—not aimed at just anyone but at the very pretty class valedictorian, Diane Court (Ione Skye). “I’m good at it,” Lloyd says of his companionship with Diane, but the girl’s father (John Mahoney) deems Lloyd a nice mediocrity and dislikes the relationship. Ironically, this is despite the detractor’s being in prison for accruing ill-gotten gain off a nursing home. (How naughty some of these middle-agers are!)
The girls in the film are close to being paragons of virtue, but . . . there’s also Lloyd. Over and above, SA is a good-hearted picture with inventive story elements and a fun, discerning cast. A middlebrow worthy.
Written and directed by Cameron Crowe.
by Dean | Nov 28, 2014 | General
In Joel Schumacher’s Falling Down (1993), Michael Douglas plays divorced, jobless, bespectacled Bill, who snaps under modern day pressure and starts doing deleterious things en route to his ex-wife’s house. Its first half hour is wrenchingly honest, but then it gets very wobbly. It politicizes itself by showing how terrified it is of seeming more essentially conservative than essentially liberal, when only political neutrality would have saved the day. Here and there the film is highly imaginative, and the acting of Douglas, Barbara Hershey and Robert Duvall is un-hammily not to be improved on. James Newton Howard’s score is sleek and fervid. The script, however, turns into a p.c. debacle, hoping, really, to be more ideological than artistic; and the film’s visceral power doesn’t stand a chance against that. It deflates.
Cover of Falling Down
