Lee Remick

Lee Remick

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The Omen (1976) Review


OK
The Omen is not as serious a movie as it appears. Coming to the modern audience as the infant in a Holy trinity of satanic, apocalyptic horror films, including The Exorcist and Rosemary's Baby, The Omen arrives leaden with reputation and expectation. Its story is renowned, its sequences remembered, and its delicious score is an iconic pop-cultural phenomenon. On the surface of things, Richard Donner's film matches its Trinitarian peers shock for shock. However, as little Damian proves, not everything is as it seems. Though garbed in the accoutrements of its satanic predecessors, it is at its core a story of gross implausibility and squandered potential, a schlocky piece of fluff shot and cut with unwarranted earnestness. When poked and prodded, when the hair is cut away, the film is essentially a pretty good bad movie.

The story of the devil's son born to the American politician begins with a moment that only reveals its ridiculousness in retrospect: when Ambassador to Italy Robert Thorn's (Gregory Peck) first-born dies moments after birth, he is offered, and accepts, an abandoned child as replacement. He does this so that his wife Katherine (Lee Remick) is spared the torment of the death. I know politics is pragmatic, but really. With any moral quibbles twitched away by a few hard long stares, the Thorns take up shop in England when Robert receives a promotion. The years pass in dreary montage and Damian (a creepily cute Harvey Stephens) grows to age five in blissful British tranquility. Naturally, when his nanny (Holly Palance) hangs herself on his sixth birthday, announcing "It's all for you Damian," things change.

Continue reading: The Omen (1976) Review

A Face In The Crowd Review


Excellent
Every great film has a great screenplay, and A Face in the Crowd is no exception. Budd Schulberg's script is sharp and ambitious and works as a psychological study, slightly over-the-top political satire, and a morality play. But it is Andy Griffith's awesome, energetic, nuanced performance of a demagogue that makes this film a classic.

A reporter in rural Arkansas (Patricia Neal) interviews a bum in a local jail (Andy Griffith) and discovers he can sing, so she gives him a spot on her local radio show and christens him Lonesome Rhodes. He turns out to be a fountain of homespun charm who is especially empathetic with women listeners (the premise is not improbable -- many careers were launched in a similar way). On his first night on TV, Rhodes makes love to the audience while raising money for a homeless family. He becomes an overnight celebrity, rising from national TV star into advertising, opinion-making, and finally becomes a political kingmaker.

Continue reading: A Face In The Crowd Review

Telefon Review


Good
Charles Bronson is KGB, man! And Lee Remick is a double agent! And together they have to track down KGBer-gone-commando Donald Pleasence, as he reactivates a long-since-abandoned plan to activate sleeper agents in the U.S. and have them blow up a bunch of stuff. This Cold War thriller may not have the most complicated story, but it's curiously effective and has been been surprisingly influential, a nice companion piece to The Manchurian Candidate, another mind controlled-civilians-as-assassins story. Bronson probably does less fighting in this film than in any other film in his career.

Anatomy Of A Murder Review


Excellent
This very adult and daring (for 1959) courtroom thriller gives us a truly tricky case: James Stewart defends a man (Ben Gazzara) who murdered the guy who raped his wife (Lee Remick). He's pleading insanity. She has a history of not wearing panties. For close to three hours, Stewart makes his case in meticulous legal detail, with George C. Scott on the other side of the courtroom. All the principals are fantastic, with the possible exception of Remick, who just doesn't fit the part nearly well enough. Duke Ellington's score is a classic.
Lee Remick

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