gcameron
Iscritto in data feb 2000
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Valutazione di gcameron
Okay, a few things about "Midnight Run" have dated. It's got the inevitable '80s car chase, with five million cop cars pursuing De Niro and Grodin while they scream in anger at each other. It's also amazing how many felonies De Niro commits in the course of the movie without ending up spending his life in jail. But these plot points are part of the genre, and as long as we are willing to suspend disbelief a bit, it's not a problem.
On to the good things. The De Niro/Grodin chemistry is obviously very good -- this is probably De Niro's most successful comic performance, although he mostly plays the straight man. An absolutely first-rate supporting cast -- including a hilarious Joe Pantoliano as well as Dennis Farina as a mob boss and the sublime Yaphet Kotto as an ever-more-put-upon FBI agent -- gives "Midnight Run" a richness of texture that puts it head and shoulders above other movies. I love the way these characters live out their roles with style and grace -- note De Niro's "inside joke" for Yaphet Kotto after stealing an FBI car.
Structurally, the script is excellent as well. The plot is very intricate -- it juggles 3 separate groups of people pursuing De Niro and Grodin (the mob, the FBI, and a rival bounty hunter) while continuing to develop the relationship between the two leads in distinct stages. Things do lag a bit in late Act II -- I could have done without the scene where Grodin and De Niro pose as FBI agents looking for counterfeit money -- but it's a minor quibble. Two superb dramatic scenes (the one where De Niro talks to his ex-wife, and the last scene in which he says goodbye to Grodin) round things out.
Budding screenwriters take note: if you want to study a film that's a first-rate example of the 3-act Hollywood movie done right, check out "Midnight Run." Anyone else, just watch it to have a good time.
On to the good things. The De Niro/Grodin chemistry is obviously very good -- this is probably De Niro's most successful comic performance, although he mostly plays the straight man. An absolutely first-rate supporting cast -- including a hilarious Joe Pantoliano as well as Dennis Farina as a mob boss and the sublime Yaphet Kotto as an ever-more-put-upon FBI agent -- gives "Midnight Run" a richness of texture that puts it head and shoulders above other movies. I love the way these characters live out their roles with style and grace -- note De Niro's "inside joke" for Yaphet Kotto after stealing an FBI car.
Structurally, the script is excellent as well. The plot is very intricate -- it juggles 3 separate groups of people pursuing De Niro and Grodin (the mob, the FBI, and a rival bounty hunter) while continuing to develop the relationship between the two leads in distinct stages. Things do lag a bit in late Act II -- I could have done without the scene where Grodin and De Niro pose as FBI agents looking for counterfeit money -- but it's a minor quibble. Two superb dramatic scenes (the one where De Niro talks to his ex-wife, and the last scene in which he says goodbye to Grodin) round things out.
Budding screenwriters take note: if you want to study a film that's a first-rate example of the 3-act Hollywood movie done right, check out "Midnight Run." Anyone else, just watch it to have a good time.
Sanjuro is not one of Kurosawa's great films, but it shows him relaxed and having fun, deconstructing the jidai-geki (samurai film) genre with tongue firmly in cheek.
The film lacks the meticulous visual style of Yojimbo, but it is very well photographed, with some extremely fluid cinematography and those effortlessly artful group compositions that only Kurosawa seems to be able to do. The plot is a little exposition-heavy, but it's always swift-moving and never comes close to taking itself seriously.
Watching Toshiro slice apart all those enemies in the various battle scenes with nary a bloodstain in sight, I did find myself wishing the folks at Toho had sprung for a few squibs. But all is set right in the brilliant final swordfight, which is worth the price of admission.
The film lacks the meticulous visual style of Yojimbo, but it is very well photographed, with some extremely fluid cinematography and those effortlessly artful group compositions that only Kurosawa seems to be able to do. The plot is a little exposition-heavy, but it's always swift-moving and never comes close to taking itself seriously.
Watching Toshiro slice apart all those enemies in the various battle scenes with nary a bloodstain in sight, I did find myself wishing the folks at Toho had sprung for a few squibs. But all is set right in the brilliant final swordfight, which is worth the price of admission.
...warts and all. Whether it be called a "film" or a "filmed play" is questionable (the fact is that "Hamlet" is a long, somewhat ungainly, occasionally redundant play that is in some ways more suited to reading than to viewing all at once), but Branagh's uncut "Hamlet" does justice to Shakespeare. The whole thing is here, and (mostly) very well acted to boot -- and the completeness of the text will render unwatchable such butchered, "Shakespeare's greatest hits" versions as the 1991 Zefferelli/Mel Gibson film.
It is a travesty that Branagh was not at least nominated for an Oscar for his performance in the title role. He approaches the scenes as a musician would approach a difficult passage -- controlling his instrument carefully, building up to climaxes upon certain words, deftly combining externalized gestures with inner emotion. As Ebert has noted, Branagh dares to pull out all the stops in the big moments. Compared to him, Olivier's respectable performance seems to me rather stiff and recital-like, while Gibson's is like a pop keyboardist tackling Rachmaninov's 3rd Concerto.
Even better is Derek Jacobi's magnificent performance as Claudius. It is the best piece of Shakespearean acting I've ever seen on film, and once of the best performances in any movie. Watch his monologue in the chapel, or the inner agony he exhibits when asking Britain to bring about "the present death of Hamlet." Given the full text to work with, he restores Claudius from a two-dimensional bad-guy to one of literature's greatest and most complex villains.
It is a travesty that Branagh was not at least nominated for an Oscar for his performance in the title role. He approaches the scenes as a musician would approach a difficult passage -- controlling his instrument carefully, building up to climaxes upon certain words, deftly combining externalized gestures with inner emotion. As Ebert has noted, Branagh dares to pull out all the stops in the big moments. Compared to him, Olivier's respectable performance seems to me rather stiff and recital-like, while Gibson's is like a pop keyboardist tackling Rachmaninov's 3rd Concerto.
Even better is Derek Jacobi's magnificent performance as Claudius. It is the best piece of Shakespearean acting I've ever seen on film, and once of the best performances in any movie. Watch his monologue in the chapel, or the inner agony he exhibits when asking Britain to bring about "the present death of Hamlet." Given the full text to work with, he restores Claudius from a two-dimensional bad-guy to one of literature's greatest and most complex villains.