Christopher-Lee Movie Reviews
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Incredible! Nicholson at his Best!
Great AdaptationI rank this movie as the best of the best of what I consider to be American Cinema's golden decade, the 70s. It certainly won the widest acclaim, with its sweep of the major Oscars for 1975 (Nicholson also won best actor from the New York Film Critics voters that year).
Not to be overlooked is the fantastic job performed by the film's adaptors, Bo Goldman and Lawrence Hauben, who also won Oscars for their screenplay. True, they did have a fairly decent stage version (by Dale Wasserman) to work with. I remember seeing an excellent production of the play, with a terrific cast, in San Francisco circa 1972. Just as an aside, I read in the Norton Critical edition of the novel, a review of a NY production of the play by Walter Kerr that was an absolute pan. Suffice it to say that the movie is much different than either the novel or the play. Those familiar with Kesey's great novel understand how difficult a transfer from page to screen would be; about a third of the story is Bromden's delusional interior monologue. The final script, quite rightly, focuses almost exclusively on Randal P McMurphy's struggle with Nurse Ratched for the hearts and minds of the inmates.
This is truly a gut and soul-wrenching movie, with many moments of high maniacal comedy interspersed. Though many of his other films are top-notch, this is Forman's masterpiece. If you haven't read the book, read it. It you don't own this movie, buy it. There are few works in the history of American literature and film that are superior.
A great great Movie !
Mostel is Max Bialystock, a gone-to-seed Broadway producer who spends his days wheedling checks from his "investors," elderly women for whom Bialystock is only too willing to provide company. When wide-eyed auditor Leo Bloom (Wilder) comes to check the books, he unwittingly inspires the wild-eyed Max to hatch a sure-fire plan: sell 25,000 percent of his next show, produce a deliberate flop, then abscond with the proceeds. Unfortunately for the producers (but fortunately for us), their candidate for failure is Springtime for Hitler, a Brooksian conceit that envisions what Goebbels might have accomplished with a little help from Busby Berkeley.
Truly startling during its original 1968 release, The Producers does show signs of age in some peripheral scenes that make merry at the expense of gays and women. But the show's nifty cast (notably including the late Dick Shawn as LSD, the space cadet that snags the musical's title role, and Kenneth Mars as the helmeted playwright) clicks throughout, and the sight of Mostel fleecing his marks is irresistibly funny. Add Wilder's literally hysterical Bloom, and it's easy to understand the film's exalted status among late-'60s comedies. --Sam Sutherland
One of the greatest comedies of all time!The best way to beat a bully is to puncture his balloon. Only a genius could have successfully lampooned the Nazis in those days, and when Brooks made it work, he showed true genius. This is in my non-humble opinion, of course.
So funny, my roommate liked it!My roommate is a very modern guy. For the most part, he doesn't like anything that came before the 80's. But he agreed to watch this 1960's movie, primarily because it was by Mel Brooks. I assured him he'd love it.
By the time the "Springtime for Hitler" number (one of the greatest songs in modern cinema) was over, he was laughing harder than I'd ever seen him laugh before. Once it was over, he immediately rewound it to watch it again, another first for him.
So what makes this such a hilarious movie? You have Zero Mostel; although I've never seen another of his movies, they must be hilarious as well. You have Gene Wilder; his hilarity I already know of. You have Dick Shawn and Kenneth Mars, nearly stealing the show. You have the great songs, such as the aforementioned "Springtime for Hitler" and "Prisoners of Love."
And finally, you have Mel Brooks. One of the great cinematic masters of comedy, his debut film is one of his funniest.
Highest possible recommendation!
You will laugh so hard that you'll soil yourself!!!
Mostel is Max Bialystock, a gone-to-seed Broadway producer who spends his days wheedling checks from his "investors," elderly women for whom Bialystock is only too willing to provide company. When wide-eyed auditor Leo Bloom (Wilder) comes to check the books, he unwittingly inspires the wild-eyed Max to hatch a sure-fire plan: sell 25,000 percent of his next show, produce a deliberate flop, then abscond with the proceeds. Unfortunately for the producers (but fortunately for us), their candidate for failure is Springtime for Hitler, a Brooksian conceit that envisions what Goebbels might have accomplished with a little help from Busby Berkeley.
Truly startling during its original 1968 release, The Producers does show signs of age in some peripheral scenes that make merry at the expense of gays and women. But the show's nifty cast (notably including the late Dick Shawn as LSD, the space cadet that snags the musical's title role, and Kenneth Mars as the helmeted playwright) clicks throughout, and the sight of Mostel fleecing his marks is irresistibly funny. Add Wilder's literally hysterical Bloom, and it's easy to understand the film's exalted status among late-'60s comedies. --Sam Sutherland
One of the greatest comedies of all time!The best way to beat a bully is to puncture his balloon. Only a genius could have successfully lampooned the Nazis in those days, and when Brooks made it work, he showed true genius. This is in my non-humble opinion, of course.
So funny, my roommate liked it!My roommate is a very modern guy. For the most part, he doesn't like anything that came before the 80's. But he agreed to watch this 1960's movie, primarily because it was by Mel Brooks. I assured him he'd love it.
By the time the "Springtime for Hitler" number (one of the greatest songs in modern cinema) was over, he was laughing harder than I'd ever seen him laugh before. Once it was over, he immediately rewound it to watch it again, another first for him.
So what makes this such a hilarious movie? You have Zero Mostel; although I've never seen another of his movies, they must be hilarious as well. You have Gene Wilder; his hilarity I already know of. You have Dick Shawn and Kenneth Mars, nearly stealing the show. You have the great songs, such as the aforementioned "Springtime for Hitler" and "Prisoners of Love."
And finally, you have Mel Brooks. One of the great cinematic masters of comedy, his debut film is one of his funniest.
Highest possible recommendation!
You will laugh so hard that you'll soil yourself!!!
Mostel is Max Bialystock, a gone-to-seed Broadway producer who spends his days wheedling checks from his "investors," elderly women for whom Bialystock is only too willing to provide company. When wide-eyed auditor Leo Bloom (Wilder) comes to check the books, he unwittingly inspires the wild-eyed Max to hatch a sure-fire plan: sell 25,000 percent of his next show, produce a deliberate flop, then abscond with the proceeds. Unfortunately for the producers (but fortunately for us), their candidate for failure is Springtime for Hitler, a Brooksian conceit that envisions what Goebbels might have accomplished with a little help from Busby Berkeley.
Truly startling during its original 1968 release, The Producers does show signs of age in some peripheral scenes that make merry at the expense of gays and women. But the show's nifty cast (notably including the late Dick Shawn as LSD, the space cadet that snags the musical's title role, and Kenneth Mars as the helmeted playwright) clicks throughout, and the sight of Mostel fleecing his marks is irresistibly funny. Add Wilder's literally hysterical Bloom, and it's easy to understand the film's exalted status among late-'60s comedies. --Sam Sutherland
One of the greatest comedies of all time!The best way to beat a bully is to puncture his balloon. Only a genius could have successfully lampooned the Nazis in those days, and when Brooks made it work, he showed true genius. This is in my non-humble opinion, of course.
So funny, my roommate liked it!My roommate is a very modern guy. For the most part, he doesn't like anything that came before the 80's. But he agreed to watch this 1960's movie, primarily because it was by Mel Brooks. I assured him he'd love it.
By the time the "Springtime for Hitler" number (one of the greatest songs in modern cinema) was over, he was laughing harder than I'd ever seen him laugh before. Once it was over, he immediately rewound it to watch it again, another first for him.
So what makes this such a hilarious movie? You have Zero Mostel; although I've never seen another of his movies, they must be hilarious as well. You have Gene Wilder; his hilarity I already know of. You have Dick Shawn and Kenneth Mars, nearly stealing the show. You have the great songs, such as the aforementioned "Springtime for Hitler" and "Prisoners of Love."
And finally, you have Mel Brooks. One of the great cinematic masters of comedy, his debut film is one of his funniest.
Highest possible recommendation!
You will laugh so hard that you'll soil yourself!!!
Mostel is Max Bialystock, a gone-to-seed Broadway producer who spends his days wheedling checks from his "investors," elderly women for whom Bialystock is only too willing to provide company. When wide-eyed auditor Leo Bloom (Wilder) comes to check the books, he unwittingly inspires the wild-eyed Max to hatch a sure-fire plan: sell 25,000 percent of his next show, produce a deliberate flop, then abscond with the proceeds. Unfortunately for the producers (but fortunately for us), their candidate for failure is Springtime for Hitler, a Brooksian conceit that envisions what Goebbels might have accomplished with a little help from Busby Berkeley.
Truly startling during its original 1968 release, The Producers does show signs of age in some peripheral scenes that make merry at the expense of gays and women. But the show's nifty cast (notably including the late Dick Shawn as LSD, the space cadet that snags the musical's title role, and Kenneth Mars as the helmeted playwright) clicks throughout, and the sight of Mostel fleecing his marks is irresistibly funny. Add Wilder's literally hysterical Bloom, and it's easy to understand the film's exalted status among late-'60s comedies. --Sam Sutherland
DisappointingOf course lots of people really like this movie. I recommend renting it or catching it on cable before buying the video.
Funny and belly-aching...
You will laugh so hard that you'll soil yourself!!!
...Adam Sandler stars as a golfer who just couldn't make it as a hockey player, due to a short fuse. After joining the pro-golf tour due to his dynamite driving abilities, he meets up with former-golfer, Chubbs. Chubbs helps calm Adam down and set him on his way towards winning money to pay the IRS for his grandmas house and beating... enemy, Shooter McGavin. Add in a beautiful girl, and you get one funny, well-told movie.
Although the jokes may be juvinile, you can't help but laugh...
The only guy to take off his skate and try to stab someone!
Bob Barker Beating
The Quintessential DRACULA!The film begins, oddly enough, in broad daylight, as we look up on Dracula's castle. It's a far cry from the one in most or our imaginations. This is no gloomy, mist-enshrouded, crumbling edifice of evil, but almost a Victorian mansion set in what looks to be the Swiss Alps. The camera pans past it down towards a crypt, in which lies Dracula's coffin. As the horror-movie music swells, bright red blood splashes on the inscription that reads "Dracula"--introducing horror fans to the new world of gorgeous Technicolor.
There are huge gaping plot holes in the film, but the film moves briskly and with an intensity other horror films of the era couldn't muster. The screenplay by Jimmy Sangster (who wrote a good portion of the Hammer films) has little plot contrivances to allow for the various attacks Dracula makes. It all seems to be a weird jumble of Stoker's novel, the original 1931 play adaption, and British production codes and values. At one point Holmwood (Michael Gough) and Van Helsing (Peter Cushing) are discussing vampirism, and Holmwood says, "I thought vampires could turn into bats or wolves." Van Helsing corrects him: "No, that's a common fallacy." What?! Why? It's never explained, but I think I can guess why--they couldn't fit that type of thing into the budget! It's also impossible to tell just where the story takes place--Transylvania is never named, nor is London. Odd, that, but not too crushing to the events at hand. I've seen this film several times as an adult and I don't think I ever thought about much of this until I decided to write about it.
The acting is very good, straightforward and convincing. Had it been less so these Hammer films would not have achieved classic status. Peter Cushing and Christopher Lee solidified their careers here (a year after CURSE OF FRANKENSTEIN) and they are in top form, a perfect battle between good and evil. Cushing is full-bore, his wiry frame radiating intense concern and intellectual pride. Michael Gough as Holmwood does a credible job as the Victorian gentleman caught up in this inconceivable horror, but he doesn't at all come off as ineffectual, wimpy or bumbling. Melissa Stribling as Mina is, at first, a prim, yet intelligent, woman, but after her encounters with Dracula she subtly changes--imperceptible to the men, but to the audience, well... we know there's gonna be trouble.
Lee as Dracula is perfect, all implacable stillness one moment and then animal swiftness the next. His presence is more commanding and threatening than Lugosi's, more fully masculine and powerful. Like the character in the novel, he spends most of his time off-screen--but those few moments he is on screen are marvelous, scary and effective. The sudden, shocking close-up on his face, blood dripping from his fangs, his eyes red-rimmed, must have sent '50s audiences into paroxysms of fear. When he makes his move on Mina it is first with loving kisses upon her face--as if he remembers something of what human love was once like. Lee understood the depth of this usually one-dimensional character, and reveals it with economy and style.
The climax of the movie is fantastic, thrilling and quick-moving. Lee and Cushing get down to some hand-to-hand combat (note to self: if ever being strangled, play dead, then when strangler is least expecting, attack!) while Gough rescues the soon-to-be-undead Stribling. The effects of Dracula crumbling away as the sunlight burns his flesh--oops, did I give that away?--are kind of funny now, but I'm sure at the time everyone was pretty grossed out. Order is restored, the Victorian status quo resumed... until DRACULA, PRINCE OF DARKNESS seven years later.
The Best Vampire Movie Ever!
Lee brought new life to the roleHammers production is lush in quality and colour, with the powerful, aristocrat Count (Lee) meeting Harker in his castle in Transylvania, then later flees to England to stalk Harker fiancé. Only, in seducing Mina and Lucy, he comes up against a formidable foe Van Helsing, wonderfully played by the late great Peter Cushing (the second pairing for the duo, the first Hammer's Frankenstein). They were super in their struggle, climaxing in their battle of good against evil swashbuckle style.
Lee was dynamically menacing, with courtly European grace and manners, and turned on the sensual magic that saw him soon recognised as a star world wide. The best of the Hammer Vampires, and despites Lee's often dismissal of the films and others for Hammers, it stands as a brilliant work.
At this price, it's a super bargain!
The Quintessential DRACULA!The film begins, oddly enough, in broad daylight, as we look up on Dracula's castle. It's a far cry from the one in most or our imaginations. This is no gloomy, mist-enshrouded, crumbling edifice of evil, but almost a Victorian mansion set in what looks to be the Swiss Alps. The camera pans past it down towards a crypt, in which lies Dracula's coffin. As the horror-movie music swells, bright red blood splashes on the inscription that reads "Dracula"--introducing horror fans to the new world of gorgeous Technicolor.
There are huge gaping plot holes in the film, but the film moves briskly and with an intensity other horror films of the era couldn't muster. The screenplay by Jimmy Sangster (who wrote a good portion of the Hammer films) has little plot contrivances to allow for the various attacks Dracula makes. It all seems to be a weird jumble of Stoker's novel, the original 1931 play adaption, and British production codes and values. At one point Holmwood (Michael Gough) and Van Helsing (Peter Cushing) are discussing vampirism, and Holmwood says, "I thought vampires could turn into bats or wolves." Van Helsing corrects him: "No, that's a common fallacy." What?! Why? It's never explained, but I think I can guess why--they couldn't fit that type of thing into the budget! It's also impossible to tell just where the story takes place--Transylvania is never named, nor is London. Odd, that, but not too crushing to the events at hand. I've seen this film several times as an adult and I don't think I ever thought about much of this until I decided to write about it.
The acting is very good, straightforward and convincing. Had it been less so these Hammer films would not have achieved classic status. Peter Cushing and Christopher Lee solidified their careers here (a year after CURSE OF FRANKENSTEIN) and they are in top form, a perfect battle between good and evil. Cushing is full-bore, his wiry frame radiating intense concern and intellectual pride. Michael Gough as Holmwood does a credible job as the Victorian gentleman caught up in this inconceivable horror, but he doesn't at all come off as ineffectual, wimpy or bumbling. Melissa Stribling as Mina is, at first, a prim, yet intelligent, woman, but after her encounters with Dracula she subtly changes--imperceptible to the men, but to the audience, well... we know there's gonna be trouble.
Lee as Dracula is perfect, all implacable stillness one moment and then animal swiftness the next. His presence is more commanding and threatening than Lugosi's, more fully masculine and powerful. Like the character in the novel, he spends most of his time off-screen--but those few moments he is on screen are marvelous, scary and effective. The sudden, shocking close-up on his face, blood dripping from his fangs, his eyes red-rimmed, must have sent '50s audiences into paroxysms of fear. When he makes his move on Mina it is first with loving kisses upon her face--as if he remembers something of what human love was once like. Lee understood the depth of this usually one-dimensional character, and reveals it with economy and style.
The climax of the movie is fantastic, thrilling and quick-moving. Lee and Cushing get down to some hand-to-hand combat (note to self: if ever being strangled, play dead, then when strangler is least expecting, attack!) while Gough rescues the soon-to-be-undead Stribling. The effects of Dracula crumbling away as the sunlight burns his flesh--oops, did I give that away?--are kind of funny now, but I'm sure at the time everyone was pretty grossed out. Order is restored, the Victorian status quo resumed... until DRACULA, PRINCE OF DARKNESS seven years later.
The Best Vampire Movie Ever!
Lee brought new life to the roleHammers production is lush in quality and colour, with the powerful, aristocrat Count (Lee) meeting Harker in his castle in Transylvania, then later flees to England to stalk Harker fiancé. Only, in seducing Mina and Lucy, he comes up against a formidable foe Van Helsing, wonderfully played by the late great Peter Cushing (the second pairing for the duo, the first Hammer's Frankenstein). They were super in their struggle, climaxing in their battle of good against evil swashbuckle style.
Lee was dynamically menacing, with courtly European grace and manners, and turned on the sensual magic that saw him soon recognised as a star world wide. The best of the Hammer Vampires, and despites Lee's often dismissal of the films and others for Hammers, it stands as a brilliant work.
At this price, it's a super bargain!
The one Star Trek movie that comes close to Star Trek: II
Star Trek gives Kirk, crew, a fitting sign-off.....Coming on the heels of the less-than-stellar Star Trek V: The Final Frontier and the resignation of Harve Bennett as producer of the feature films, Paramount turned to actor/producer Leonard Nimoy and director/screenwriter Nicholas Meyer (Time After Time, Star Trek II: The Wrath of Khan) to save the foundering franchise and give fans something worthy of a 25th-anniversary celebration. After looking at various options, they decided on a Star Trek version of the end of the Cold War.
The Undiscovered Country (the title is a Shakespearean reference to death and was Meyer's first choice for the title of Star Trek II) capitalizes on the similarities of the U.S.-Soviet standoff to the long-standing not-quite-war between the Federation and the Klingon Empire. Fittingly, the film begins with a bang when, in a Chernobyl-like accident, the Klingon's main energy production source on the moon of Praxis explodes.
The explosion sends both literal and political shock waves across the galaxy. The physical subspace wave buffets the USS Excelsior, now commanded by former Enterprise helmsman Hikaru Sulu (George Takei). Capt. Sulu, in the tradition of good Starfleet captains, offers assistance but is rebuffed by the Klingon High Command.
Nevertheless, three months later, Sulu's former shipmates, including Capt. Kirk (William Shatner), Dr. Leonard "Bones" McCoy (the late DeForest Kelley), Capt. Montgomery Scott (James Doohan) and Cmdrs. Uhura (Nichelle Nichols) and Pavel Chekov (Walter Koenig) are summoned to a top secret level meeting. "The Klingon Empire," they are told by Starfleet's commanding admiral, "has less than 50 years to live." Praxis' explosion has depleted the ozone layer of the Klingons' homeworld and polluted the atmosphere. Heavy expenditures on weapons and bases has weakened the Klingon economy and the cleanup is beyond their means. A special envoy has been appointed by the Federation to begin negotiations with Chancellor Gorkon, leader of the Klingon High Council. To the shock of Kirk and his officers, that envoy is Enterprise first officer Spock (Leonard Nimoy).
And when Kirk is assigned to escort Gorkon's ship into Federation space for a summit on Earth with the Federation president (That 70's Show's Kurtwood Smith), he's shocked and angry. Not only are the senior officers due to retire in a few months, but Kirk is still bitter about his son's death at the hands of the Klingons several years before. But the good captain has been issued his orders, and like it or not, he will do his duty.
Little does he know that a massive conspiracy to undermine the peace negotiations is underway, planned by those in the Federation and the Klingon Empire who have a lot to lose if peace breaks out. And soon, Kirk and the Enterprise crew are caught in a web of deceit and intrigue that will place their lives in jeopardy....and shatter the last best hope for galactic peace.
The film features a fine performance by Sex in the City's sultry Kim Catrall as Lt. Valeris, Spock's full-Vulcan protege with a hidden agenda of her own, as well as a wonderfully over-the-top appearance by Christopher Plummer as a dastardly, Shakespeare-quoting Klingon general. The Undiscovered Country also acknowledges the legitimacy of Star Trek: The Next Generation, and with an appearance by ST-TNG actor Michael Dorn as Col. Worf (the grandfather, one surmises, of the Enterprise-D's Lt. Worf, Dorn's "regular" role), the two generations are bridged on the silver screen. ("Unification, Parts I and II," guest starring Leonard Nimoy, had aired a few weeks before the film's premiere and included a few subtle references to its storyline.)
Star Trek VI's home video, laserdisc and first DVD releases contain the longer edited-for-home-viewing version which includes two deleted scenes featuring Rene Auberjonois (who would later be cast as Odo in Star Trek: Deep Space Nine) as Col. West. Paramount has released a barebones DVD since 1998, but a 2-disc Collector's Edition is forthcoming.
This Movie sends a wonderful farewell to the original cast!
The one Star Trek movie that comes close to Star Trek: II
Star Trek gives Kirk, crew, a fitting sign-off.....Coming on the heels of the less-than-stellar Star Trek V: The Final Frontier and the resignation of Harve Bennett as producer of the feature films, Paramount turned to actor/producer Leonard Nimoy and director/screenwriter Nicholas Meyer (Time After Time, Star Trek II: The Wrath of Khan) to save the foundering franchise and give fans something worthy of a 25th-anniversary celebration. After looking at various options, they decided on a Star Trek version of the end of the Cold War.
The Undiscovered Country (the title is a Shakespearean reference to death and was Meyer's first choice for the title of Star Trek II) capitalizes on the similarities of the U.S.-Soviet standoff to the long-standing not-quite-war between the Federation and the Klingon Empire. Fittingly, the film begins with a bang when, in a Chernobyl-like accident, the Klingon's main energy production source on the moon of Praxis explodes.
The explosion sends both literal and political shock waves across the galaxy. The physical subspace wave buffets the USS Excelsior, now commanded by former Enterprise helmsman Hikaru Sulu (George Takei). Capt. Sulu, in the tradition of good Starfleet captains, offers assistance but is rebuffed by the Klingon High Command.
Nevertheless, three months later, Sulu's former shipmates, including Capt. Kirk (William Shatner), Dr. Leonard "Bones" McCoy (the late DeForest Kelley), Capt. Montgomery Scott (James Doohan) and Cmdrs. Uhura (Nichelle Nichols) and Pavel Chekov (Walter Koenig) are summoned to a top secret level meeting. "The Klingon Empire," they are told by Starfleet's commanding admiral, "has less than 50 years to live." Praxis' explosion has depleted the ozone layer of the Klingons' homeworld and polluted the atmosphere. Heavy expenditures on weapons and bases has weakened the Klingon economy and the cleanup is beyond their means. A special envoy has been appointed by the Federation to begin negotiations with Chancellor Gorkon, leader of the Klingon High Council. To the shock of Kirk and his officers, that envoy is Enterprise first officer Spock (Leonard Nimoy).
And when Kirk is assigned to escort Gorkon's ship into Federation space for a summit on Earth with the Federation president (That 70's Show's Kurtwood Smith), he's shocked and angry. Not only are the senior officers due to retire in a few months, but Kirk is still bitter about his son's death at the hands of the Klingons several years before. But the good captain has been issued his orders, and like it or not, he will do his duty.
Little does he know that a massive conspiracy to undermine the peace negotiations is underway, planned by those in the Federation and the Klingon Empire who have a lot to lose if peace breaks out. And soon, Kirk and the Enterprise crew are caught in a web of deceit and intrigue that will place their lives in jeopardy....and shatter the last best hope for galactic peace.
The film features a fine performance by Sex in the City's sultry Kim Catrall as Lt. Valeris, Spock's full-Vulcan protege with a hidden agenda of her own, as well as a wonderfully over-the-top appearance by Christopher Plummer as a dastardly, Shakespeare-quoting Klingon general. The Undiscovered Country also acknowledges the legitimacy of Star Trek: The Next Generation, and with an appearance by ST-TNG actor Michael Dorn as Col. Worf (the grandfather, one surmises, of the Enterprise-D's Lt. Worf, Dorn's "regular" role), the two generations are bridged on the silver screen. ("Unification, Parts I and II," guest starring Leonard Nimoy, had aired a few weeks before the film's premiere and included a few subtle references to its storyline.)
Star Trek VI's home video, laserdisc and first DVD releases contain the longer edited-for-home-viewing version which includes two deleted scenes featuring Rene Auberjonois (who would later be cast as Odo in Star Trek: Deep Space Nine) as Col. West. Paramount has released a barebones DVD since 1998, but a 2-disc Collector's Edition is forthcoming.
This Movie sends a wonderful farewell to the original cast!