Michael-Gambon Movie Reviews

If you are looking for a movie to catagorize the poor films of the 70s, here it is. A rediculous plot and poor acting go right with hilarious special affects, including the dog falling through the sun roof and the dude being electracuted by a chain-link fence. It was worth it for me, because me and my friends needed to rent 1 more movie to get a discount, and the comical title and our lack of time forced us to hurridly pick this turkey. Plus it was fun to rip on everything in a MST3K-style manor with my buddies that night, but certainly dont spend 25 bucks on this disasterpiece.

I recently purchased this film on DVD purely as a matter of nostalgia.

This flick first caught my attention one dark, lonely night when I was five or six years old and suffering from my seasonal allergies and asthma attack. This movie both entertained me and scared me to death. It has been twenty-three years since I last saw it and, to my surprise, I still think it's a really good movie, though for very different reasons.

Sure they put a fur coat on a black dog and expect us to buy it as a wolf. Sure the soundtrack seems better suited to "Shaft in Merry Ol' England" as opposed to a modern gothic horror film. Sure the acting is heavily stylized and, at times, just plain goofy. Sure the "Werewolf Break" in which the audience is given thirty seconds in which to dissect a fairly uncomplicated mystery is way out in Goofyville, but who cares?! Anyone who finds fault with the above is, quite obviously, someone who should not be watching this film in the first place. Like many films made in the long ago and far away, you have to accept a certain level of culture shock. Like many horror films you have to be willing to suspend your disbelief nigh on to the breaking point. Like many British films you have to put up with acting that seems more suited to Stratford on Avon than Dogma 95. Accept these as simple facts of life or don't rent it, folks. It's just that simple.

I've read several negative reviews for this particular film which stress the above elements over and over again. Surprisingly, many of these are written by avowed horror hounds who would probably love the movie if it had nudity and/or more gore. I'm certainly no prude and would turn away from neither should a "Director's Cut" of "The Beast Must Die" ever surface. Then again, sometimes it really is nice to see a horror film like this or any of the Amicus vignette films of the sixties and seventies ("Tales From the Crypt," "The Vault of Horror," "Asylum," et. al.) They have an innocense and a joviality that you just don't find often enough. Though some recent horror fare (most notably the "House on Haunted Hill" remake and any episode of HBO's "Tales From the Crypt") attempt to emulate the feel of a picture like this, they always seem to miss the mark. Perhaps its because they are much more willing to let fly with the gore and nudity. The resulting product hence becoming muddled somewhere between childishness and exploitativeness. (For a further discussion of this see the write-up of Stephen King's "Maximum Overdrive" penned by the good people at Jabootu.com).

In closing, if you like seventies kitsch or Brit horror of the period or if you just find yourself in the mood for a watchable mystery, you could do a hell of a lot worse. I mean, "Murder, She Wrote" could still be on the air.

The Beast Must Die works on two levels, a solid horror film and a interesting mystery. Even though it features a werewolf, the whole process of leading up to who actually is the beast is very clever and should be of interest to those who enjoy powers of deduction. Peter Cushing is the main reason I first viewed this along with Anton Diffiring. Their performances make the movie what it is. I am very pleased it is finally available to own, it ranks as one of the best werewolf movies ever!

This is one of the most "medium" movies I've seen. No real controversy (good girls versus bad guys), no nudity (a real missed opportunity there), no comedic bits that are either really funny or really stupid (there's one scene where Minnie tries to hide a gun in her bra, but the metal's so cold she drops it).
You could watch this with a new date and just relax, talk some, watch some, no pressure.
Two young women, a nurse and an actress, overhear a robbery in progress and, deciding that their lives could use some new spice (and new money), try to blackmail the crooks into sharing the loot.
The characters (nurse-actress-bad guys) are all easily recognized "types," the setting is England but doesn't really have to be (except it's kind of funny listening to the American "actress" do her British accent).
Keep your expectations low, and this movie is fine.

Very light-hearted caper comedy of which quality is enhansed by enchanting two leading ladies, "High Heels and Low Lifes" is perfectly made for Minnie Driver and Mary MaCormack. Even though the film met a commercial and critical failure, and it certainly deserves partly its not so good reputauion, the film is fairly agreeable largely owing to these ladies.

The story is admittedly silly and implausible. Driver (hard-working nurse) and McCormack (unemployed actress) accidentally overhear the conversations of bank robbers, and get the number of one of the gangsters' cell phone (!). The girls, being so unhappy with love and job, decide to blackmail those gangsters to get some money for the hospital, first making an uninvited phone call to unlucky Danny (Danny Dyer, "Human Traffic"). Danny, not so clever as to tell every detail of robbery over cell phone, handles the case on his own, trying to hush up those unwelcome guests, and thus making things more complicated.

With many twists in the plot, the film attempts to entertain us, but what it succedds most is not that part, because for many of us, the film looks made by the number, reminding us of many similar situations we have seen before, including "Life Less Ordinary" and any Guy Ritchie films.

It is clear that the director Mel Smith is not suitable for the job if you just remember his works in the past -- "Bean: the Movie" and "Tall Guy" both comedy without crimes, and I must say, not particularly an original one as comedy either. The former one is helped by the presence of Rowan Atkinson, and the latter by the script of Richard "Four Weddings" Curtis and Emma Thompson (it washer film debut). And "High Heels," made by family-oriented Touchstone Pictures, seems often trying not to offend us, showing its tame version of violence. In short, as a caper comedy, it lacks energy, being too luckwarm.

However, those leading ladies save the entire work from forgettableness, though not completely. The acting of them is both very good, making us smile with their down-to-earth characters. Special mention goes also to their fashionable costume designs, which are always colorful and fantastic.

One of the better roles for Minnie Driver, "High Heels and Low Lifes" will amuse her fans, making them confiedent again in her talent and career, which seem a bit declining with misfires like "Slow Burn" and "Beautiful." This one is flawed, but much better.

Two attractive, slightly daffy women overhear a phone call about a heist and decide (unwisely) to blackmail the perpetrators. The story isn't even remotely plausible, but if you're willing to suspend disbelief and go along for the ride, there are some funny bits along the way. If you enjoyed movies like Swordfish, Snatch, True Romance and Nurse Betty you'll probably like this one too.

This is one of the most "medium" movies I've seen. No real controversy (good girls versus bad guys), no nudity (a real missed opportunity there), no comedic bits that are either really funny or really stupid (there's one scene where Minnie tries to hide a gun in her bra, but the metal's so cold she drops it).
You could watch this with a new date and just relax, talk some, watch some, no pressure.
Two young women, a nurse and an actress, overhear a robbery in progress and, deciding that their lives could use some new spice (and new money), try to blackmail the crooks into sharing the loot.
The characters (nurse-actress-bad guys) are all easily recognized "types," the setting is England but doesn't really have to be (except it's kind of funny listening to the American "actress" do her British accent).
Keep your expectations low, and this movie is fine.

Very light-hearted caper comedy of which quality is enhansed by enchanting two leading ladies, "High Heels and Low Lifes" is perfectly made for Minnie Driver and Mary MaCormack. Even though the film met a commercial and critical failure, and it certainly deserves partly its not so good reputauion, the film is fairly agreeable largely owing to these ladies.

The story is admittedly silly and implausible. Driver (hard-working nurse) and McCormack (unemployed actress) accidentally overhear the conversations of bank robbers, and get the number of one of the gangsters' cell phone (!). The girls, being so unhappy with love and job, decide to blackmail those gangsters to get some money for the hospital, first making an uninvited phone call to unlucky Danny (Danny Dyer, "Human Traffic"). Danny, not so clever as to tell every detail of robbery over cell phone, handles the case on his own, trying to hush up those unwelcome guests, and thus making things more complicated.

With many twists in the plot, the film attempts to entertain us, but what it succedds most is not that part, because for many of us, the film looks made by the number, reminding us of many similar situations we have seen before, including "Life Less Ordinary" and any Guy Ritchie films.

It is clear that the director Mel Smith is not suitable for the job if you just remember his works in the past -- "Bean: the Movie" and "Tall Guy" both comedy without crimes, and I must say, not particularly an original one as comedy either. The former one is helped by the presence of Rowan Atkinson, and the latter by the script of Richard "Four Weddings" Curtis and Emma Thompson (it washer film debut). And "High Heels," made by family-oriented Touchstone Pictures, seems often trying not to offend us, showing its tame version of violence. In short, as a caper comedy, it lacks energy, being too luckwarm.

However, those leading ladies save the entire work from forgettableness, though not completely. The acting of them is both very good, making us smile with their down-to-earth characters. Special mention goes also to their fashionable costume designs, which are always colorful and fantastic.

One of the better roles for Minnie Driver, "High Heels and Low Lifes" will amuse her fans, making them confiedent again in her talent and career, which seem a bit declining with misfires like "Slow Burn" and "Beautiful." This one is flawed, but much better.

Two attractive, slightly daffy women overhear a phone call about a heist and decide (unwisely) to blackmail the perpetrators. The story isn't even remotely plausible, but if you're willing to suspend disbelief and go along for the ride, there are some funny bits along the way. If you enjoyed movies like Swordfish, Snatch, True Romance and Nurse Betty you'll probably like this one too.

While in real life this movie would be very mean, it makes a good romantic comedy with a surprising ending. The first scene opens up with an overly sweet song and then contrasts sharply with a kitchen scene in a restaurant.

Julia plays a food critic who tastes the chef's creation and declares it to be "inventive and confident."

When Michael, Jewels best friend calls to say he is getting married, she literally falls off the bed. She also seems to want to then fall back into his arms.

Soon we meet the Billionaires daughter (Cameron Diaz is so good in this roll), who is engaged to Michael and we know there is going to be trouble. She should definitely not drive while talking is all I have to say on that one! Then we meet the equally annoying bridesmaids, but they are just briefly in the movie.

Jewels has four days to break up this engagement and tries to convince Michael that she is not the girl she used to be. There are some very funny moments and you can't really guess the end of the movie as the plot seems to keep moving in another direction.

Could have been better without all the swearing, but Julia's acting is brilliant as always.

~TheRebeccaReview.com

This film marks the rebirth of Julia Roberts. The casting agent picked a peach when they made this one. Julia is perfect opposite the lush Cameron Diaz who sparkles in her role as the naive bride-to-be. The movie has a heavenly sound track which brings many decade-or-so old classics back to life. Whilst the dialogue is laden with hilarious inserts from Rupert Everett who is the epitome of gay charm. As romantic comedies go this one is up there: one for the video rack- hey, buy the soundtrack too!

Nothing personal is set in Northern Ireland during the 1970's, when the Troubles were at their height. The story centers on one memorable night when two former friends, one a UVF member and the other a humble catholic fatehr raising two children. The meaning of the title is most likely a comment on the war that has been going on for years, that the war is no longer about personal hated toward a specific person for anaction they had done, but for just what they represent. The movie isn't that centered but the ending does give off the message very clearly: Violence is wrong. Duh! We know that but the message comes heartbreakingly and most unfairly, but then again all violence is unfair.

I have been studying late modern Irish history for a few years now and this is one of the best works depicting Northern Irish life that I have seen. Not only were the 1970s a confussing time in Northern Ireland, but more than likely Catholics and Protestants alike found themselves on opposite ends of the battlefield from some of thier closest childhood friends. I think that the movie vividly gives the viewer an understanding at just how complicated the situation in Northern Ireland really was during the early years of the Troubles. The film shows that things like violence and peace were not always as black and white as they seemed. Although the movie may leave the lay-person a little in the dark at times when dealing with some of the deaper issues involved, it does get the point across that the violence in Northern Ireland was very confusing and not everything was as it was thought to be. Even for the people educated in Northern Irish history it may take a few viewings to catch all the little subtalties that make this film a real find.

It is difficult for one to make a film about sylvia Plath without being terribly melodramatic & cliched. Guess what. This film is terribly melodramatic & cliched. What is funny is how in the preview it says this is the "untold story" about Hughes & Plath. Frankly, I can't think of a more boring & dead literary topic than those two because it has been beaten to death! This film is like reading a linear progression of Plath's life in a bio, only the film offers nothing new to say, other than now you're just watching it on screen instead of reading it. This film is not as bad as "The Hours" which was one of the worst movies of the last fifty years, mainly because this is not as PC & reeking of propaganda like in the way "The Hours" was. The score is not good nor bad- (in "The Hours" it is abysmal- Philip Glass should stick to the Koyaanisqatsi films).
Weep weep weep boo hoo- this film offers no insight into the characters. Why was Plath such a great poet? How was she? The film also does not explore how Hughes is a talentless Hack, & for the first half you do not know if he is cheating on her or if it's just her paranoia. He cheated on her, period. Sylvia was too messed up to handle it. Let's watch her stick her head in the oven. The good thing is that Paltrow gives a solid performance, (better than Kidman mumbling in the air to herself to show that she's crazy) but only for as much as the script allows. The script is terribly written & I think that's shown best (or worst) when Al Alvarez, her pal/critic tells her that "she and ted understand one another in ways others can only dream of," Are you crying yet? Have pity on me please. Unless you are Plath obsessed, I cannot see anyone finding this film interesting. It is also too long & I found myself checking my watch several times in the theatre. I also had a stiff neck at the end & decided I'd never paint my walls pea green. Also, if you don't want to be depressed, keep plenty of lamps and open windows around. Apparently they did not have such inventions back in 1960's England.

Let's face it: if you're going to see "Sylvia", most likely you realize that it's not going to be a feel good movie. You won't leave the theater all warm and fuzzy.

And you don't. However, you do leave the theater with a lot to think about for the rest of the day. First and foremost, both Gwyneth Paltrow and Daniel Craig give bold, memorable performances as Sylvia Path and Ted Hughes, the doomed poet couple of the late 1950's and early 1960's. Patrow looks so much like photos of Plath that it's eerie. However, she does more than just look like her-she conveys the woman's neurotic brilliance, her desperate need to conform to her ideals of feminity, motherhood and wifehood while at the same time trying to produce world class poetry. Craig meanwhile (who also looks like photos of Hughes) illuminates both the magenetism of Hughes' presence--which drew sylvia and many other women to him--and his trying to meet the challenge of living with Sylvia. Hughes was brilliant too--but not mentally ill and that makes all the difference.
Strong supporting performances run through the movie; most notably, Blythe Danner as Plath's mother and Michael Gambon as a kindly though increasingly impatient neighbor.
I would recommend this movie to those who gravitate towards art house movies and literature lovers. If you're a Ted Hughes basher, this movie may be too balanced for you. Likewise, if you're a Plath basher. Yest it's a small movie in many ways--the score could have been better, the story fleshed out a bit more (hence the four stars)--but it is a very good small movie.

I am going to give this film 4 stars even though it probably doesn't meet everyone's expectations. Making a biography is difficult because life doesn't necessarily offer as many sensational choices as fiction. At two hours a lot of her life is left out. 'Gandhi' with Ben Kingsley is the great biography which comes to my mind now and that movie was over three hours long.

As history, 'Sylvia' does a good job from what I know about her life. Left out is the fact that Ted Hughes later became poet laureate of England, although he was blamed by some for her demise and death. Worth watching.

Want to second reviewer below - DVD quality is bad beyond belief. Do not attempt to purchase this. How can people manufacture this? Have they no shame?

Roeg fans will like this film. It doesn't have all of the bravura of a Eureka, while at the same time it does have the chamber elements of Insignificance. Note, however, that the Fox Lorber DVD is horrible: it's in the 1.33 aspect ratio, and looks like a poor tv video master -- blurry, smeared, jittery. So not only is it pan-and-scan, but it's a poor pan-and-scan!

This is an excellent story set during the Romanian Revoluation of 1989. The actors are superb, Patrick Malahide (my favorite), Michael Gambon, Sonia Braga, Nicholas Grace. I was really captivated by the flashbacks, and by the dining table servings. I have watched it several times and will still continue to watch it. Thank you very much for an excellent movie.

This movie is little more than a parody of the espionage genre. Ridiculous and extremely confusing plot, stereotypical characters, pitiful screenplay, poorly filmed ... I could go on and on but what would be the use? An example of the pathetic story: Michael Caine and Jason Connery are tossed off a train in the middle of Siberia. After five minutes of walking along the train track they suddenly find themselves in an airport outside a teeming city, where they get the last two seats on an airplane. Then, the airplane runs out of gas and serenely lands in a cow pasture where all the passengers grumpily exit the plane. This was just one of a series of scenes that were not only mindless but unexciting.

This movie was so bad it defies belief! Spend your money elsewhere!

My God, what a stupid background music non-stop and so loud to almost cover all the dialogues in this movie. I mean, NON-STOP background music and very unsuitable interpretation of the plot, the scenario, no matter what, when, how, why, that disturbing horrible, got-nothing-to-do-with the movie itself background music just kept going and playing not matter what. Drive me nuts just like the other movie, "the perfect storm", the non-stop, totally unrelated background music just play on, so loudly, so unstopable, drive you nuts! Please, this is not a Cartoon, you don't have to emphasize any movement or whatever with a music to get the dramatic effect. This is movie, folks, the music is supposed to enhance the moment that is needed by employ some sound effect. But how could this old concept of 60' Hollywood musical techs would still so stupidly and so dominantly and, so blindly used to wreck so many supposed to be good movies? Well, Suh, that is beyond my pea brain.

The BULLET TO BEIJING is an intelligent Ian Flemming-type of spy thriller, except post Cold War.

Filmed around the world by a Canadian-Russian production company, Michael Caine leads a terrific cast of actors who put on a top rate, understated performance. Basically, Caine plays a just forcibly retired British M-1 spook who has been put into a midlife crisis by his scaling down intelligence agency. Looking for work, he winds up in Russia working for former KGB people purporting to save the world from a deadly new bio-toxin which is on its way to North Korea through China. Caine's mission is to stop the toxin from getting there.

There is plenty of intrigue and just about the right amount of sex-by-implication, off camera. Also starring in the movie is Jason Connery (Sean's son) who does a decent job of acting as a young British-Russian agent trying to find his place in the new world order.

While not great, this movie tells its story better than the high priced DIE ANOTHER DAY.
For those wishing to see a good old fashioned spy thriller freshened up for the post-Cold war era, see BULLET TO BEIJING.

I found this movie to be a crashing bore and a great disappointment. I usually like this sort of British/Irish film and I'm extremely interested in the period of Irish history involved here,, from the 1916 Rebellion through the War of Independence to the Treaty setting up the Irish Free State. However, this story was so slow moving and the characters so one dimensional and incredibly clueless that it was hard to keep up any real interest in their pathetic lives. The cast is a striking one and deserves better but every character, with the possible exception of Maggie Smith's, seemed shallow and only partly realized. The photography was probably the best part of this disaster but even it seemed murky and given to dwelling much too long on inanimate objects, flora and fauna. The only part of the interminable proceedings with any spark was that involving the brief interlude with Lois (as blank a cartridge as I've encountered in many a moon) and the IRA gunman, who himself seemed almost a caricature. Over all it managed to make a critical and fascinating period of history dull and uninvolving.

This was a very moving movie showing how the Irish, and the British and how families like uncle Richard and aunt Myra (Maggie Smith) Anglo Irish buisness people who no longer support the British yet fear the Irish rebels are caught in between a confict. Fiona Shaw does an wonderful job playing the part of a vamp, Marta who is to marry a wealthy English business man but enjoys fooling around and tempting Hughie who is regreatfuly married to a much older woman while they are staying at Richard and Myra's house. In the mean time Lois ( Uncle Richard's niece) is playfuly leading on a very attractive young British officer and yet sneaking to meet the young Irish rebel and allowing herself to be seduced by him. The British Officer wishes to marry her but Aunt Myra (Maggie Smith does a really good job playing a polite snob) slams the poor officer with the fact that he is not of money and that it would be impossible to marry Lois, yet uncle Richard, who really hates the British, is encouraging the young officer to continue in his relationship with Lois. This is a movie that anyone who enjoys the English movie format, should see.

This story is based on Elizabeth Bowen's cleverly crafted novel in which a young woman comes of age in a brutal time. It is a story about seeking love in all the wrong places. Love is not a simple affair. It is a complex journey, filled with many decisions along the way.

As Lois (Keeley Hawes) and Army Captain Gerald (David Tennant) dance through a forest there is an unmistaken sense of innocence clouded by a forboding evil clinging to each step. The deeper they go into the forest, the more aware you become that a ghost-like melancholy seems to consume Lois. She is amused by Gerald, but has a penchant for rebels. Even in her innocence, she longs for excitement and the impossible situation.

You are consciously aware of the intricacies in the lives of the characters and become less concerned with the plot. Laurence (Jonathan Slinger) seems content to amuse himself observing the blossoming yet mild romance between Lois and Gerald.

There are scenes of spinning on a swing, playing tennis out on the grass, frivolous parties and while life seems to go on like Renoir's painting: "The Gust of Wind." The undercurrent is more of a ominous gale. Most of the characters seem unaware of even the slightest political gust. They fill their lives with walks in nature and evenings spent gazing at the stars on a luxurious estate.

Lois wants to be in love and she seeks love where she feels she can find it. Although, she seems to be playing with fire when she discovers Peter Connolly (Gary Lydon) hiding in the old mill house. He is an IRA fugitive wanted for the murder of an English Army officer. Lois sneaks out on her bike to see him, all the while realizing she is putting her life in danger.

This is not the end of the world as predicted, but perhaps the end of a romance. It is however, a tragic romance with artistic moments to die for. The seemingly insignificant raindrops splashing into a glass of lemonade has a much deeper meaning. The joyfulness of a romantic existence is contrast sharply with the deviousness of destiny.

I found this movie to be a crashing bore and a great disappointment. I usually like this sort of British/Irish film and I'm extremely interested in the period of Irish history involved here,, from the 1916 Rebellion through the War of Independence to the Treaty setting up the Irish Free State. However, this story was so slow moving and the characters so one dimensional and incredibly clueless that it was hard to keep up any real interest in their pathetic lives. The cast is a striking one and deserves better but every character, with the possible exception of Maggie Smith's, seemed shallow and only partly realized. The photography was probably the best part of this disaster but even it seemed murky and given to dwelling much too long on inanimate objects, flora and fauna. The only part of the interminable proceedings with any spark was that involving the brief interlude with Lois (as blank a cartridge as I've encountered in many a moon) and the IRA gunman, who himself seemed almost a caricature. Over all it managed to make a critical and fascinating period of history dull and uninvolving.

This was a very moving movie showing how the Irish, and the British and how families like uncle Richard and aunt Myra (Maggie Smith) Anglo Irish buisness people who no longer support the British yet fear the Irish rebels are caught in between a confict. Fiona Shaw does an wonderful job playing the part of a vamp, Marta who is to marry a wealthy English business man but enjoys fooling around and tempting Hughie who is regreatfuly married to a much older woman while they are staying at Richard and Myra's house. In the mean time Lois ( Uncle Richard's niece) is playfuly leading on a very attractive young British officer and yet sneaking to meet the young Irish rebel and allowing herself to be seduced by him. The British Officer wishes to marry her but Aunt Myra (Maggie Smith does a really good job playing a polite snob) slams the poor officer with the fact that he is not of money and that it would be impossible to marry Lois, yet uncle Richard, who really hates the British, is encouraging the young officer to continue in his relationship with Lois. This is a movie that anyone who enjoys the English movie format, should see.

This story is based on Elizabeth Bowen's cleverly crafted novel in which a young woman comes of age in a brutal time. It is a story about seeking love in all the wrong places. Love is not a simple affair. It is a complex journey, filled with many decisions along the way.

As Lois (Keeley Hawes) and Army Captain Gerald (David Tennant) dance through a forest there is an unmistaken sense of innocence clouded by a forboding evil clinging to each step. The deeper they go into the forest, the more aware you become that a ghost-like melancholy seems to consume Lois. She is amused by Gerald, but has a penchant for rebels. Even in her innocence, she longs for excitement and the impossible situation.

You are consciously aware of the intricacies in the lives of the characters and become less concerned with the plot. Laurence (Jonathan Slinger) seems content to amuse himself observing the blossoming yet mild romance between Lois and Gerald.

There are scenes of spinning on a swing, playing tennis out on the grass, frivolous parties and while life seems to go on like Renoir's painting: "The Gust of Wind." The undercurrent is more of a ominous gale. Most of the characters seem unaware of even the slightest political gust. They fill their lives with walks in nature and evenings spent gazing at the stars on a luxurious estate.

Lois wants to be in love and she seeks love where she feels she can find it. Although, she seems to be playing with fire when she discovers Peter Connolly (Gary Lydon) hiding in the old mill house. He is an IRA fugitive wanted for the murder of an English Army officer. Lois sneaks out on her bike to see him, all the while realizing she is putting her life in danger.

This is not the end of the world as predicted, but perhaps the end of a romance. It is however, a tragic romance with artistic moments to die for. The seemingly insignificant raindrops splashing into a glass of lemonade has a much deeper meaning. The joyfulness of a romantic existence is contrast sharply with the deviousness of destiny.