Doctor_Mabuse
A rejoint avr. 2001
Bienvenue sur nouveau profil
Nos mises à jour sont toujours en cours d’élaboration. Bien que la version précédente de le profil ne soit plus accessible, nous travaillons activement à des améliorations, et certaines des fonctionnalités manquantes reviendront bientôt. Restez à l’écoute pour leur retour. En attendant, des notes est toujours disponible sur nos applications iOS et Android, qui se trouvent sur de profil. Pour voir votre ou vos distributions d’évaluation par année et genre, veuillez consulter notre nouvelle section Guide d’aide.
Badges5
Pour savoir comment gagner des badges, rendez-vous sur page d’aide sur les badges.
Commentaires22
Évaluation de Doctor_Mabuse
This compilation feature does a disservice to the memory of the beloved comedy team of Bud Abbott and Lou Costello. The film is a random selection of scenes from the team's Universal films, assembled in evident haste, with none of the care or respect of Robert Youngson's comedy documentaries, and burdened with a condescending narration by Jack E. Leonard. The non-stop footage of the boys makes it a breezy enough light entertainment but a poor introduction to Abbott and Costello.
To its credit the film offers clips from a few of Abbott and Costello's best films (Buck Privates, Who Done It?, Abbott and Costello Meet Frankenstein, In the Navy, Buck Privates Come Home) and several memorable ones (Ride 'Em Cowboy, Hit the Ice, In Society, The Wistful Widow of Wagon Gap). And the immortal "Who's On First?" routine, as performed in The Naughty Nineties, is duly featured as an appropriate finale.
Yet, with all the riches at their disposal, producer Milton Subotsky and editorial director Sidney Meyer focused inordinately on the team's later, lesser films: Little Giant, Mexican Hayride, Abbott and Costello In the Foreign Legion, Abbott and Costello Go to Mars, Abbott and Costello Meet the Keystone Kops, Comin' Round the Mountain, Abbott and Costello Meet the Mummy and the notorious Lost in Alaska.
It is inexplicable that such mediocre material would be consciously chosen over classics like Hold That Ghost, Keep 'Em Flying, Pardon My Sarong, It Ain't Hay, Abbott and Costello Meet the Invisible Man and (supremely) The Time of Their Lives. Clearly the compilers had little knowledge or appreciation of the subject of their film. The resulting curio is an unintended insult to classic movie comedy.
To its credit the film offers clips from a few of Abbott and Costello's best films (Buck Privates, Who Done It?, Abbott and Costello Meet Frankenstein, In the Navy, Buck Privates Come Home) and several memorable ones (Ride 'Em Cowboy, Hit the Ice, In Society, The Wistful Widow of Wagon Gap). And the immortal "Who's On First?" routine, as performed in The Naughty Nineties, is duly featured as an appropriate finale.
Yet, with all the riches at their disposal, producer Milton Subotsky and editorial director Sidney Meyer focused inordinately on the team's later, lesser films: Little Giant, Mexican Hayride, Abbott and Costello In the Foreign Legion, Abbott and Costello Go to Mars, Abbott and Costello Meet the Keystone Kops, Comin' Round the Mountain, Abbott and Costello Meet the Mummy and the notorious Lost in Alaska.
It is inexplicable that such mediocre material would be consciously chosen over classics like Hold That Ghost, Keep 'Em Flying, Pardon My Sarong, It Ain't Hay, Abbott and Costello Meet the Invisible Man and (supremely) The Time of Their Lives. Clearly the compilers had little knowledge or appreciation of the subject of their film. The resulting curio is an unintended insult to classic movie comedy.
Sinbad the Sailor voyages to the mythic northern realm of Hyperborea to restore a caliph from an evil witch's transformation.
Sinbad and the Eye of the Tiger, the follow-up to the classics The Seventh Voyage of Sinbad and The Golden Voyage of Sinbad, is an uneven conclusion to Ray Harryhausen's celebrated "Sinbad Trilogy". The troubled production began with a draggy script, budgetary restrictions and an inexperienced director; the film as released suffers from choppy editing, over-length and routine music scoring. One animation highlight (the giant walrus) is obscured by an optical snowstorm. The attractive cast performs listlessly and the villain is campy rather than truly menacing, although former "Doctor Who" Patrick Troughton is delightful as a befuddled wizard.
Yet, for all its flaws, Sinbad and the Eye of the Tiger remains an entertaining escapade in the old-fashioned Saturday-Matinée tradition. Costuming and settings are colorful and the film looks handsome in widescreen. The quest for the mystical Shrine of the Four Elements has a particularly epic quality with the usual eclectic blend of mythical elements set against the backdrop of the Arabian Nights.
Most importantly, Harryhausen's realistic stop-motion animation is as extraordinary as ever, with two of the animated-puppet creatures -- Kassim the Baboon and Trog the Troglodyte -- successfully functioning as actual communicative characters within the body of the story. Other wonders include insectoid demons, an over-sized mosquito, Minaton the Brass Minotaur and the saber-tooth tiger of the title.
Genuine movie fantasy is a rare commodity, and Ray Harryhausen's vision and conviction shine through the circumstances of production to make this a satisfying final visit to the land beyond Beyond.
Sinbad and the Eye of the Tiger, the follow-up to the classics The Seventh Voyage of Sinbad and The Golden Voyage of Sinbad, is an uneven conclusion to Ray Harryhausen's celebrated "Sinbad Trilogy". The troubled production began with a draggy script, budgetary restrictions and an inexperienced director; the film as released suffers from choppy editing, over-length and routine music scoring. One animation highlight (the giant walrus) is obscured by an optical snowstorm. The attractive cast performs listlessly and the villain is campy rather than truly menacing, although former "Doctor Who" Patrick Troughton is delightful as a befuddled wizard.
Yet, for all its flaws, Sinbad and the Eye of the Tiger remains an entertaining escapade in the old-fashioned Saturday-Matinée tradition. Costuming and settings are colorful and the film looks handsome in widescreen. The quest for the mystical Shrine of the Four Elements has a particularly epic quality with the usual eclectic blend of mythical elements set against the backdrop of the Arabian Nights.
Most importantly, Harryhausen's realistic stop-motion animation is as extraordinary as ever, with two of the animated-puppet creatures -- Kassim the Baboon and Trog the Troglodyte -- successfully functioning as actual communicative characters within the body of the story. Other wonders include insectoid demons, an over-sized mosquito, Minaton the Brass Minotaur and the saber-tooth tiger of the title.
Genuine movie fantasy is a rare commodity, and Ray Harryhausen's vision and conviction shine through the circumstances of production to make this a satisfying final visit to the land beyond Beyond.
This exceptional live-action Walt Disney adventure-drama might have benefited from a warmer actor in the lead role, but Robot Taylor (pun intended) nevertheless brings strength and conviction to the part of an angry but caring man. The supporting cast is uniformly excellent, especially Lilli Palmer and Curt Jurgens who supply a depth of emotion to a dry and unsentimental story.
The film works the family-oriented animal interest of the Lippizan horses into the framework of a dramatic and often suspenseful wartime adventure. One needn't be a horse-lover to be caught up in the story and end up caring about the animals which in this film are symbols of art, grace and beauty surviving a war-torn world. The audience is teased with glimpses of the stallions at play and in training and learns to appreciate their value so that the full-blown horse-show finale comes as a welcome joy.
The well-produced movie was filmed on location in Austria and is handsomely photographed. There is a gripping battle scene and adults will be impressed with the maturity of the entire project.
The film works the family-oriented animal interest of the Lippizan horses into the framework of a dramatic and often suspenseful wartime adventure. One needn't be a horse-lover to be caught up in the story and end up caring about the animals which in this film are symbols of art, grace and beauty surviving a war-torn world. The audience is teased with glimpses of the stallions at play and in training and learns to appreciate their value so that the full-blown horse-show finale comes as a welcome joy.
The well-produced movie was filmed on location in Austria and is handsomely photographed. There is a gripping battle scene and adults will be impressed with the maturity of the entire project.