The Rare Review

Movies, books, music and TV

A Word About Oliver Stone’s “Nixon” (1996)

For all his talent, Anthony Hopkins’s—and Oliver Stone’s—Richard Nixon in 1996’s Nixon is simply weird, naught but a man with his demons.  The film itself has its stylistic demons to boot, what with all its flashiness and now-color, now-monochrome silliness.  Yes, there are a few strong scenes and some bright dialogue, but . . . well, to have Nixon discuss policy and procedures while his cabinet men frequently look as though they’re baffled and suspicious is deeply stupid.  I didn’t buy it for a second.

Of course this is not the Nixon of history, but who is he, really?  Only another unscrupulous but unfortunate, semi-tragic figure.  And he is used for a movie with basically inconsequential meaning.

Nixon (film)

Nixon (film) (Photo credit: Wikipedia)

Dispensing With The Old “Wuthering Heights” Movie

In the William Wyler film version of Wuthering Heights (1939), starring Laurence Olivier, gone is the slow working out of Heathcliff’s ugly revenge and his final casting-off of it.  Gone is the focus on death following error and disillusionment.  Gone are the countervailing values of Catherine’s daughter, Cathy Linton, and Hareton; there are no Cathy Linton and Hareton in this film.  Gone is most of the novel’s morality.  This is not what Emily Bronte intended.  One could never get any idea of the brilliance she demonstrated in Wuthering Heights from watching this inadequate film.

Cover of "Wuthering Heights"

Cover of Wuthering Heights

Humor But No Frivolity In “Inside Llewyn Davis”

Llewyn and Ulysses

Llewyn and Ulysses (Photo credit: vapour trail)

It is a little hard to see the girl played by Carey Mulligan in Inside Llewyn Davis (2013) as a slut, as she presumably is, but easy to believe she herself has a point in considering Llewyn Davis (Oscar Isaac) a “loser.”  A merchant mariner struggling to become a professional folk singer in 1961, Llewyn has very little money, is possibly the father of Mulligan’s soon-to-be-aborted child, constantly lets other people down and is in turn let down by other people, and even receives an absurd beating by a mysterious stranger.

Joel and Ethan Coen’s film is a black comedy—too black.  Undeniably amusing, it is also rather specious.  As is well known by many, to deny the light is as much a lie as to deny the dark, and here the Coens deny the light.  All they care to offer us is pessimism and (usually so-so) music, which makes for an undistinguished film—or would if it weren’t for the reasonably well-written script.  For the Coens have penned an integrated story less contrived than that of their No Country for Old Men.  Good going, guys, but . . .

it sure isn’t perfect.

Other assets are here, too, and in truth Inside Llewyn Davis is a modest success.

Ain’t Exactly Legendary: “Sinbad: Legend of the Seven Seas”

I suppose children over the years have enjoyed the animated Sinbad: Legend of the Seven Seas (2003) but I, an adult, grew tired of it.

The moral story is not that bad, but midway the disaster action gets too hokey, in my view, for grownups—something a big-screen animator really ought to avoid.  Its unexpected raciness hardly matters; Cowboy Bebop: The Movie it ain’t.

It’s rather fun watching Sinbad, voiced by Brad Pitt, sparring with Miranda, voiced by Catherine Zeta-Jones, as though the two were in a 1930s screwball comedy.  Mark Steyn of the British Spectator (formerly) is right, though:  there are too many Wonder Women in today’s action movies.  That’s what Miranda is.  Why isn’t Sinbad the hero of this thing?

Cover of "Sinbad - Legend of the Seven Se...

Cover via Amazon

“Captain America: The Winter Soldier” Is No B.S.

Standing Proud |Captain America: The Winter So...

Standing Proud |Captain America: The Winter Soldier Review (Photo credit: BagoGames)

The noise made over drones and the NSA may well be fatuous,* but Captain America: The Winter Soldier (2014) projects these things into the future to do its scrutinizing, if that’s what it is, of What Could Come About (beware).  In light of this and the powerful action, the pic is a no-b.s. concoction (though not without humor).  Highlights include a slick, smashingly fine auto chase and a tense bait-and-switch followed by gunfire within a government building.

Robert Redford is in the film, playing an intelligence director, a glorifier of security over freedom.  Subtly commanding, he is still a remarkable actor—unlike Chris Evans, who is just okay as Capt. America.  Scarlett Johansson, on the other hand, is inspired enough to make Natasha/Black Widow (who?) more or less interesting.  Winter Soldier has two film editors and two directors, which was perhaps requisite for its technical perfection.

*Or maybe it isn’t.

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