naillon-2's reviews

I had to see this movie, since it is supposed to be the last for Daniel Day-Lewis. He's always excellent, and he didn't let me down.

The problem is, Vicky Krieps simply cannot play her part. She's bland in every way - bland looks, bland voice, bland characterization. The part of Alma is a tricky one indeed, and not for an amateur. Even a seasoned actress might find it difficult. Yet here is Krieps, thoroughly lacking in the necessary skills, making Alma a true mess.

Granted, she's written as rather one-dimensional. We know nothing of her background - her country of origin, her family, how long she's been living in England, etc. A good actress, however, would create a character out of what details we do have. Krieps does not, and cannot.

Watching Krieps for two hours was hard. Very hard. If the entire movie had been about Reynolds Woodcock slowly coming to terms with the fact that he is aging and that women are no longer having their dresses made by him (if, indeed, they have dresses custom-made at all), it would have been a much better film. Seeing this portrait of dysfunctionality, with excellence from Day-Lewis and mediocrity from Krieps, is a chore.

I hope Daniel Day-Lewis makes at least one more movie. I want to get the taste of this one out of my mouth.

Buster absolutely shines in this episode, which is the only vehicle I've seen towards the end of the career that allowed him to do the physical (and silent!) comedy that made him famous. It's still a shock to hear his gravelly voice in the talkie sequences - his voice is about the only thing I don't care for, as far as Buster is concerned - but his ability to take a pratfall is still unparalleled. He even repeats some of the gags used in his early two-reelers with Roscoe Arbuckle.

My deepest gratitude to Rod Serling for presenting us with this episode, and for giving Buster's genius full scope. He didn't have much time (one episode) to do it in, but this is a touching tribute to Hollywood's greatest genius.

This Biograph short feature is a well-done story of two cousins and the love in their lives. Oh, and the "cad" who is awaiting his chance to "betray" one of them, if he can. The film provides a showcase for perfect performances by the leads, with Walter Miller a standout as the shy would-be suitor. Despite the occasionally far-fetched story elements, this film shows the kind of entertainment that was wildly popular in its time, and gives us a glimpse of some long-gone outdoor scenery. Griffith's actors, always reliable, are doing what they do best. There is even a touch of humor, from a director certainly not noted for comedy. We need to have this and more Griffith shorts available on DVD.

Charles Hutchison, who could have given (and maybe did give) Douglas Fairbanks a run for his money in the stunts department, stars in yet another chapter serial, as a former Secret Service agent who finds himself involved in the theft of the formula for a poison gas; additionally, he himself is being framed (by the bad guys, naturally) for the theft of valuable bonds placed in his safe by a good friend. Hutchison shows off his formidable athletic talent here; swimming underwater, scaling almost sheer rock, swinging from a chandelier (very swashbuckling!), and of course, winning against the bad guys. Another silent that, fortunately, has been saved, for future enjoyment.

I love Chaney. He had an extremely expressive face, and the sort of body language that's seen all too rarely, especially these days. In this film, where his character is a hard-bitten criminal softening under the influence of small-town life, he really uses his talents. His ability to really LOOK disabled is amazing; the way he drags himself around on his hands, twisted legs trailing behind him, is fascinating.

This isn't one of Chaney's "thousand faces" roles - you can actually see what he really looked like - but well worth watching, for Chaney alone. It's a shame that the role of the leading lady wasn't fleshed out; she's so good and pure that she's completely boring; I couldn't understand why anyone could stand this woman's company for more than a few minutes, since she has no faults. Had she been a well-rounded character, his love for her would have been believable (not that there's anything wrong with Chaney's portrayal of tormented, unrequited love).

It's hard for most modern audiences to understand, let alone become involved in, a 15-chapter serial from the silent era. For those of you who love silent film, you will rejoice in the knowledge that this treasure has not been lost to fire or nitrate disintegration. Charles Hutchison and Leah Baird, as the lovers involved in an international plot to develop a secret weapon, are amazing in this film. They do their own stunts, such as canoeing through wild rapids, jumping off a lighthouse, and climbing the sides of buildings. The stunts alone make this worth watching; no doubles, no CGI, just the two leads doing incredibly dangerous work.

As a rule, I avoid anything with the simpering, smirking, Barbie-doll Julia Roberts, who is one of the most awful excuses for an actress in Hollywood, and that's saying something.

However, I respect the acting talents of the rest of the cast, so I saw "Closer". Roberts gave exactly the non-performance that I expected of her; no surprises there. Who told her she could act, anyway? She is just as awful in this film as in every other role she's walked through, not even trying to emote. She's wooden, she's boring, she's ridiculous.

On the flip side, Clive Owen and Natalie Portman are excellent as Larry and Alice, two characters who don't know one another very well. Their only scene together is a marvel to watch. Owen blasts everyone but Portman right of the screen; in a party scene with the dullard Roberts, he's so magnetic that it's impossible NOT to look at him; Roberts might as well not even be in the frame. His line delivery is perfect, his emotions realistic.

Portman, in the strip-club scene, is coolly perfect as Owen's foil. He begs to hear the truth from her; she mocks him subtly. This casting was truly inspired.

I was disappointed in Jude Law's performance as the weak-willed Dan; he wasn't as effective as in other films.

With the exception of the dreadful Roberts, this one is riveting.