Unlike the Condor, the viewer may only pick up the salient points. There's a smattering of names for several chiefs and directors: Wicks, Wabash, Atwood, Higgins, etc. Even the switchboard operator is given the title "The Major." There's a woman, Catherine Hale (Faye Dunaway), whom the Condor takes hostage and quickly embarks on a semi-romantic partnership with. When he's not busy connecting the dots, the Condor is being hunted by a tall gun-for-hire with a foreign accent given the codename Joubert (the indefatigable Max Von Sydow) and another assassin named simply The Mailman. It doesn't seem to matter much but, for what it's worth, it all seems to have something to do with a possible war in the Middle East and oil.
Continue reading: Three Days Of The Condor Review
The plot is somewhat predictable, but it's what you do with it along the way that counts. Keyes did a lot. Unfortunately, the film version (renamed Charly) doesn't do much beyond the obvious. As Charly gains intelligence, we're supposed to see the world develop through his eyes, but mostly we just see him studying and having boring conversations with love interest Claire Bloom. Robertson won an Oscar for the role, but his portrayal of the mentally disabled Charly seems crude by today's standards and inconsistent in tone - at times he's suspiciously aware, other times unrealistically slow. Robertson does better with Charly the genius, but this part of the film doesn't last that long and feels like an Outer Limits episode, with Robertson talking about the dehumanizing future and walking around in a lab coat narrating silly "scientific" dialogue.
Continue reading: Charly Review
And I don't mean bad in a Halloween: Resurrection way where you can laugh a bit at the stupidity and go home none the worse for wear. I mean the kind of complete awfulness that Joe Queenan devotes a book to; the kind of terribleness that even the wisecracking robots on Mystery Science Theater 3000 would have had trouble finding jokes for.
Continue reading: 13th Child Review
Here's why Toby Maguire's Spider-Man is the greatest superhero in movie history:
Maguire so completely embodies the character's unique yinand yang -- the joyous, daredevil confidence of Spidey and the sweet, self-doubtingyoung chump that is Peter Parker -- that the exhilarating action in "Spider-Man2" is less interesting than his inner turmoil at being torn betweendoing what he's compelled to do and having the life he wants.
Continue reading: Spider-Man 2 Review
This has never happened to me in a movie before: There I was, ignoring a host of petty quibbles and enjoying the heck out of the unabashed comic-bookish cool of Sam Raimi's summer blockbuster "Spider-Man" adaptation -- then the second the credits rolled, I was overwhelmed by a feeling of bitter disappointment.
Why? Because with the candy-like taste of it fading faster than 25-cent bubble gum, I realized this is a throwaway movie that won't stand the test of time. It's a trifle -- nothing more than a fleeting piece of 2002 pop culture for teenage boys that down the road will seem as dated and dopey as the 1989 "Batman" has become and the 1978 "Superman" has been for a long time.
I expected more from Raimi, whose gift for great cheese (e.g. the "Evil Dead" movies) seems to have been suppressed here by commercial concerns (beyond selling soundtrack CDs, what purpose does it serve to have a performance cameo by hip-pop star Macy Gray?) and by an evangelical adherence to what might be called the Marvel Comics Movie Adaptation Handbook.
Continue reading: Spider-Man Review
With the first two Sam Rami directed Spiderman movies having put Spiderman, one of Marvel...
I can't remember the last time I've seen a movie as thoroughly bad as 13th...
Here's why Toby Maguire's Spider-Man is the greatest superhero in movie history: Maguire so completely...