Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
Follows the life of Karen Blixen, who establishes a plantation in Africa. Her life is Complicated by a husband of convenience (Bror Blixen), a true love (Denys), troubles on the plantation, schooling of the natives, war, and catching VD from her husband. Written by
Tony Bridges <firstname.lastname@example.org>
Karen Blixen remains the only woman who has ever been invited to drink in the men's bar at the Muthaiga Country Club. Certain rules have been relaxed over the years, men are even allowed in certain parts of the club without jacket and tie, but the "men only" rule remains. Another bar allows women. See more »
This is an overlong film derived from Isak Dinesen's memoirs of running
a coffee plantation in Kenya in the early years of the twentieth
century. The book is a different kettle of fish altogether, but I won't
go into that. Sydney Pollock does a fine job of directing here, but in
a way the movie is almost overproduced. There was, it seems, so much
time and money to play with that the film drags an awful lot. Kurt
Luedtke's script is laconic in the Hemingway manner, and very smart,
though some of the ultra-sophisticated one-liners began to irritate me
after a while. Pollock has a fine dramatic instinct and I wish that
there was more drama in this film for him to lavish his talent on. The
location shooting is superb, and the depiction of home and village life
in colonial Africa is nicely done. I find the romance between Dinesen
(called by her real name, Baroness Karen Blixen) and aviator-adventurer
Denis Finch-Hatton, less than compelling, partly because, as the
latter, Robert Redford refuses to use a British accent, which gives the
movie a Hollywood feel, not a bad thing in itself, but the film was
made in Africa, with a mostly British cast, and Meryl Streep as Blixen
uses an impeccable Danish accent, which makes Redford seem like a fish
out of water. This is bothersome because in many ways Redford is well
cast in the role, thus his American diction seems like sheer
willfulness on his part, which it probably was. Streep is fine in her
role, and is especially good in her grand dame moments, as lady of the
There are some worthwhile incidental pleasures in this film. John
Barry's fine score is perfect for the material, and really soars near
the end, appropriately I imagine since one of the two main characters
is an aviator. In supporting roles, Klaus Maria Brandauer, Michael
Kitchen, Suzanna Hamilton and Michael Gough work small wonders. The use
of Mozart, while true to life, makes this post-Amadeus film seem
already like a period piece; the period being the 1980's. Mozart was
all the rage in those days. His great music is, however, non- if not
anti-emotional, and it's odd that it was used so often in the movie.
The effect of the music is somewhat intimidating in the context of the
romance at the center of the film, as it doesn't suit at all what's
happening on screen, which can't help but make the viewer think that
perhaps he's missing something; or maybe the film is just too smart for
him. This is, again, a very eighties sort of feeling, of the sort of
one gets from watching Chariots Of Fire, or listening to the music
David Byrne and Laurie Anderson.
45 of 74 people found this review helpful.
Was this review helpful to you?