Mini-Review: Franco Nero is made over to look a bit like Charlie Manson as Keoma, your dime-a-dozen "fastest gun in the west" but with a hippie hairdo. He pisses off a big-shot bad-guy named Caldwell, and his own three asshole brothers (one of whom is a Donald Sutherland lookalike) who work for Caldwell, but against all odds he perpetually kicks their butts. There's a King-Learish element at work. The soundtrack is ridiculous. Contrary to many spaghetti westerns, there is no humor.
Mini-Review: Most of this is incessant and inane chatter, which made it difficult to stay focused. Adorable cat makes repeated appearances, but racist characterization of an Asian person cranks that karma down again.
Mini-Review: I suppose the most glaring of the film's errors is its confusion of intelligence with knowledge. The genetically modified apes simply seem to know everything without ever having learned anything, but they otherwise behave with apish non-sentience. Not much else in the film makes sense, either. So, compared to the writers, I can see how even an ordinary chimp would seem hyper-intelligent. Sit one at a typewriter and I'm sure he'll come up with a better script.
Mini-Review: The very existence of someone like Ben Stein is proof that "intelligent design" could not have been invested in this world, but there is at least a trace of cunning in the lies told here (after all, this is a guy who once wrote speeches for Nixon). Religious dogma knows that it has been beaten by science, so with no hope of competing against it, it now masquerades as its reviled enemy. But Stein was not "expelled" for trying to pass a creation myth for scientific theory. He simply flunked.
Mini-Review: JD's crowning acting achievement is nicer than most Hollywood melodramas of its day, but the greatness of a Douglas Sirk eludes it because it lays on the psychology too thick. By saying "they called me a chicken. You know daddy, chicken?" James is just naggingly explicating previous subtext, and with gun-totting cops after them it's not the best time to "reveal" to his girl that the younger kid considers them family. Erasing a select third of the script's lines would have really elevated this.
Mini-Review: An interesting rehash of Lotte Reiniger's The Adventures of Prince Achmed (1926). While her film used silhouette animation to tell interconnected Arabian Nights tales, Ocelot uses the technique to tell standalone fairytales pilfered from a more eclectic assortment of sources (within a frame plot). All stories have rather crude morals. On one hand the absence of P.C. is refreshing, but on the other hand I was increasingly disenchanted with the motif of a guy romancing a mass-killing "princess".
Mini-Review: Intriguing at first, but very soon one gets the message and for the rest of the 2:30 hours all that is left for Trier is to flog his sacrificial lamb with ever increasing fervor, to predictably, almost ritualistically martyrize Bess by escalating her "sacrifices". Breaking the Waves is a familiar Christian sermon praising deaf and blind devotion as a virtue. Bess' self-destruction, meant to appease an unworthy spouse, is unrewarded in her life but gets her sainted by the camera.
Mini-Review: It's a bad movie, glaringly unrealistic and unresearched. It was made to capitalize on what was, at the time, American delight in and fascination with the very risky but luckily successful Israeli operation to rescue hostages from the clutches of Palestinian terrorists aided by Idi Amin. It interested me as an Israeli for historical reasons, but apart from a very nice impression of Amin by Yaphet Kotto, I doubt that modern international viewers would find much value in this.
Mini-Review: A unique and unforgettable film. It boggles the mind that today people are watching crappy remakes of classics such as this... is it that painful to get a hold of a good 30 year-old movie instead of going out and seeing a bad new remake?
Mini-Review: Rather clever, and yet not particularly good. The person I watched it with called it 'too psychological' and she has a point. Considered as an allegory it's pretty simple-minded, so I give it no extra points for that. It's interesting to look back at the young Karlheinz Bohm from the perspective gained by watching his later, more important work with director Rainer Werner Fassbinder.