There certainly aren't any Urban Outfitters to be seen in 1970s Manhattan, though a train ride on the 6 is still a life-and-death proposition. That becomes a bit more literal for the dozen or so that are held hostage on a single car by a pack of hijackers who refer to themselves by color; a gimmick Tarantino would cop 20 years later in Reservoir Dogs. The leader is a coiled ex-soldier-of-fortune who goes by Mr. Blue (the brilliant Robert Shaw, a year before Jaws) with Green (Martin Balsam), Grey (Hector Elizondo), and Brown (Earl Hindman) under him. His foil, a metro cop named Zach Garber, is oddly played by Walter Matthau.
Continue reading: The Taking Of Pelham One Two Three (1974) Review
Milking a 50-odd year rivalry, John Gustafson (Lemmon) and Max Goldman (Matthau), for reasons where logic dare not tread, live right next to each other in suburban Minnesota. Their lives hinge on very few things: Their kids, fishing, grandkids, fishing, evading tax collectors, fishing, and going to the bait shop to talk with Charlie (Ossie Davis) about fishing. That is when they aren't being a royal pain in each other's asses.
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After adapting his Come Blow Your Horn and Park for the big screen, Simon was given the complicated task of translating his mega-hit The Odd Couple as a movie. While the studios would accept Oscar- and Tony-winner Walter Matthau as Oscar, Art Carney's cinematic clout as Felix was questioned. Luckily, director Gene Saks hired friend and Fortune Cookie co-star Jack Lemmon as the notorious neat freak. The rest, as they say, is motion picture history.
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We're transported back to turn-of-the-20th-century New York, where widowed matchmaker Dolly Levi is flouncing around meeting people, being charming, and trying to make matches. She journeys up to Yonkers to meet the "well-known unmarried half-a-millionaire" Horace Vandergelder (Walter Matthau) and to bring him and a couple of his employees, a hatmaker (there are lots of hats in this movie) and her assistant, back to New York so they can all romantically entangle with each other. Dolly's goal is to wind up with Vandergelder herself, but it won't be easy. Why? Because he's Walther Matthau, and that means he's perpetually cranky and cynical.
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Based on the critically-acclaimed play of the same name, I'm Not Rappaport as the story of two elderly men, Nat, a Jewish/socialist radical and compulsive liar (Walter Matthau), and Midge, a black, nearly blind apartment superintendent (Ossie Davis). The pair has an uneasy friendship based on the fact that they sit on the same bench in Central Park, where Nat fills Midge's head with fabrications. Nat's flair for creating new personae for himself draws the pair into one minor adventure after another, involving a young artist-in-training (Martha Plimpton), a drug dealer (Craig T. Nelson), a mugger (Guillermo Diaz), and threats from Nat's daughter (Amy Irving) regarding the ever-looming old folks' home.
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A pair of sisters (Nora and Delia) collectively control the purse strings of many a woman and hold they keys to the heart of the modern romantic through two movies: Sleepless in Seattle and You've Got Mail. Nora Ephron (along with Meg Ryan), redefined delis and male-female interaction with 1989's When Harry Met Sally.... Both are the daughters of a screenwriting duo, children of The Industry, and have become higher-level powerbrokers than their parents ever were with a string of well publicized hits and soon forgotten misses that formed a winning streak that lasted up until now.
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Hank Greenberg was not the first Jewish ballplayer, but he was the first Jewish ballplayer to keep his last name when he entered the game. As such, Greenberg faced anti-Semitic comments in addition to the insults that come with the game. As its title would suggest, The Life and Times of Hank Greenberg discusses how Greenberg dealt with that (such as the decisions to take certain religious holidays off). It also discusses how Greenberg's very presence brought hope into the hearts of Jewish people everywhere, and does all of this in a humorous fashion, to boot.
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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.
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Oh, and all of them star Walter Matthau, in three different roles, with three different leading ladies.
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