This is my first Malle film, but hopefully it won't be the last. Though at time leaning too heavily on the naiveté and/or stupidity of its characters, Malle's debut is a quietly tense little noir thriller featuring a strong performance from Jeanne Moreau, whose general lack of make-up only adds to the quiet expressiveness of her face, even she spends the first half of the film simply wandering the dreary, dark streets of Paris after dark. Malle makes great use of nighttime photography to help make the expanse of Paris seem much more confining. The film's dramatic high point arrives when Julien (Maurice Ronet) attempts to escape from an inactive elevator; the edits and shots combine to create the film's most overt "thrills." And while I won't spoil the ending, I'll say that it's great, save for one piece of information regarding the extent of punishment, which seems strange considering who did what and so on, but it's not enough to keep me from recommending this tight little noir film from anyone.Grade: B+
The Man From Elysian Fields (2001) dir. George Hickenlooper:
Though its plot centers around a man lured into becoming a high-end male escort, there is a lack of emphasis on sexual exploits. The film's focus is how Byron (Andy Garcia) balances his new job while trying to maintain a connection to his wife (Julianna Marguiles), while simultaneously becoming involved with a wealthy woman (Olivia Williams) and her successful husband (James Coburn). While the story is well told enough, it's hindered by Hickenlooper's flat direction and the often over-eager score, not to mention the overacting from Mr. Coburn. It's these elements, and the route the story takes as it moves toward its conclusion (not to mention a weak sub plot involving Mick Jagger's lover) that leaves it feeling totally pedestrian.
Though its plot centers around a man lured into becoming a high-end male escort, there is a lack of emphasis on sexual exploits. The film's focus is how Byron (Andy Garcia) balances his new job while trying to maintain a connection to his wife (Julianna Marguiles), while simultaneously becoming involved with a wealthy woman (Olivia Williams) and her successful husband (James Coburn). While the story is well told enough, it's hindered by Hickenlooper's flat direction and the often over-eager score, not to mention the overacting from Mr. Coburn. It's these elements, and the route the story takes as it moves toward its conclusion (not to mention a weak sub plot involving Mick Jagger's lover) that leaves it feeling totally pedestrian.Grade: B-
Moonstruck (1987) dir. Norman Jewison:
Romantic comedies aren't the types of films known for aging well, but Norman Jewison's triple-Oscar-winning film (written by "Doubt" playwright John Patrick Shanley) has managed to remain enjoyable 23 years since its release. Bolstered by strong performances (even from Nicholas Cage), and a strong emphasis on family dynamics, the film is still quite charming, and in spots hilarious. Cher in particular is a delight to watch as she transforms from a level-headed woman who knows exactly what she wants into someone who isn't sure of anything, without ever becoming pathetic or grating. In an age when too many romantic comedy (female) leads are portrayed as shrill and selfish, Cher's Loretta reminds us that a woman can be independent and tough while still being likable.
Romantic comedies aren't the types of films known for aging well, but Norman Jewison's triple-Oscar-winning film (written by "Doubt" playwright John Patrick Shanley) has managed to remain enjoyable 23 years since its release. Bolstered by strong performances (even from Nicholas Cage), and a strong emphasis on family dynamics, the film is still quite charming, and in spots hilarious. Cher in particular is a delight to watch as she transforms from a level-headed woman who knows exactly what she wants into someone who isn't sure of anything, without ever becoming pathetic or grating. In an age when too many romantic comedy (female) leads are portrayed as shrill and selfish, Cher's Loretta reminds us that a woman can be independent and tough while still being likable. Grade: B
California Suite (1978) dir. Herbert Ross: The problem with vignette films is that it's rare that all of them will be hits, and such is the major hindrance of this Neil Simon adaptation.
Though the first two set-ups (Alan Alda and Jane Fonda/Maggie Smith and Michael Caine) are filled with wit (perhaps even too much), and strong performances and use dialogue to chip away the characters' exteriors, the film's second half all but collapses in on itself. Walter Matthau and Elaine May's segment is occaisionally tedious, but for the most part OK. It's in the final sequence, featuring Bill Cosby and Richard Pryor, that everything goes to hell. Cosby and Pryor, two very funny men, are wasted in a scene that goes so far overboard with inflicting stunt gags on its characters (if it can break/hurt someone, it will) that it becomes as exhausting and miserable as the terrible vacation the characters are going through. That said, when it works, sparks fly, but all of the sparks get used up in roughly the film's first half, leaving it with a limp second half; that is, until the brief-but-funny ending.
Though the first two set-ups (Alan Alda and Jane Fonda/Maggie Smith and Michael Caine) are filled with wit (perhaps even too much), and strong performances and use dialogue to chip away the characters' exteriors, the film's second half all but collapses in on itself. Walter Matthau and Elaine May's segment is occaisionally tedious, but for the most part OK. It's in the final sequence, featuring Bill Cosby and Richard Pryor, that everything goes to hell. Cosby and Pryor, two very funny men, are wasted in a scene that goes so far overboard with inflicting stunt gags on its characters (if it can break/hurt someone, it will) that it becomes as exhausting and miserable as the terrible vacation the characters are going through. That said, when it works, sparks fly, but all of the sparks get used up in roughly the film's first half, leaving it with a limp second half; that is, until the brief-but-funny ending.Grade: B-/C+
Delirious (2006) dir. Tom Dicillo: 
A strange, occasionally laugh-out-loud funny film about the paparazzi and celebrity that's hindered by half-assed performances from Michael Pitt and Alison Lohman as a homeless guy-turned-paparazzo-turned-star and a pop starlet respectively. Steve Buscemi, god of all weirdness, does a good job with Les, the struggling celeb photographer, but Dicillo's film never delves deep enough into the conflict between the two, or Les' struggle with his career. It also doesn't bring anything new to the table when it comes to observations on our obsession with celebrities, nor does it present anything in a fresh way. It's a typical rags-to-riches Hollywood story with decent acting, and not much else to offer other than wonder what makes Steve Buscemi's features so oddly compelling.
A strange, occasionally laugh-out-loud funny film about the paparazzi and celebrity that's hindered by half-assed performances from Michael Pitt and Alison Lohman as a homeless guy-turned-paparazzo-turned-star and a pop starlet respectively. Steve Buscemi, god of all weirdness, does a good job with Les, the struggling celeb photographer, but Dicillo's film never delves deep enough into the conflict between the two, or Les' struggle with his career. It also doesn't bring anything new to the table when it comes to observations on our obsession with celebrities, nor does it present anything in a fresh way. It's a typical rags-to-riches Hollywood story with decent acting, and not much else to offer other than wonder what makes Steve Buscemi's features so oddly compelling.Grade: C+
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