On the other hand, her desperate search for a husband to support her has a realistic edge – the ’50’s America was not kind to single moms. The question thus becomes whether the inner struggles involved in her effort to survive repeated crises is well presented. I’m not sure it is, but not from want of trying on Ms. Zellweger’s part. It may be that the core of the character is really hard to define.Otherwise, I have no trouble recommending this often amusing, insightful glimpse into a complex family during an era of change. It may have no more weight than an old family snapshot of the era, but it is as telling and well-developed a snapshot as one could wish. We think of television as beginning in the ’50s, but that’s simply not true.This probably played in theaters as filler, but it is almost certainly a pilot for early television.
Also, one must remark the important part Grant Withers plays, as the earnest, tough, but slightly dimwitted police Captain Bill Street, and the occasional appearance by Marjorie Reynolds as the sassy reporter Bobbie Logan who dates Street off-hours, only to interfere when at work. They bring a pleasing air of continuing romantic interest as well as comic relief to the series. An embarrassing attempted ‘remake’ of a great piece of film making, by a cast and crew who evidently have no idea what the original was all about. Peckinpah’s original raised questions – you left the theater feeling awkward, self-conscious, asking the same question the lead character was asking himself – ‘how do I find my way home now? This website is using a security service to protect itself from online attacks.
But Pescatons is presented as narrated by the Doctor himself, and the voice of Tom Baker covers a multitude of sins. One can listen to Pescatons with the brain on hold and still have a fine time.Infinite Quest isn’t so lucky. At the end everything is explained – yet nothing much has happened. I don’t blame the actors, animators, or supporting personnel.
Anyone who knows Hitchcock’s body of work will recognize how this resonates with themes of sexuality and fear in his other films.But, again the birds are an open metaphor – Hitchcock is clever enough not to bind their threat too tightly to his own paranoias here. We are free to interpret them as we please, and to read the domestic drama as mere back-story to their unpredictable attacks. The film’s suspense thus hinges, not on our concern for the family’s problems, but on our own fears of inexplicable https://www.gclub.co/askmebet-slot-football-betting/ and sudden catastrophe. I think the effort to achieve that is entirely successful, and this is one of Hitchcock’s most unsettling, and most memorable, accomplishments. Some B movies transcend, others lower themselves into the “so bad t’s funny’ category. But most fall into the general category of ‘good B-movie” – entertaining but forgettable.This film can be enjoyed as a good B-movie, If one doesn’t know much of film history, there it ends – a solid B- movie from the early ’40s.But pay attention!
There is no way else to explain the opening wherein the male lead introduces his supporting cast.There are a number of pilots for unsold TV series still available, including a Sherlock Holmes pilot from the same era. There was even a brief series shot on film along similar lines (I think it was Boston Blackie). In any event, the interesting thing here is that some studios thought they could produce television shows the way they had produced theatrical B-movies. Of course, the broadcast network owners knew better (they knew that TV audiences had a lower “lowest common denominator” than film, and that less money could be spent accordingly).AS a TV pilot, this is actually not so bad – cheap, quick with an interesting twist at the end. The actors are certainly trying their best, and – for television – it is more than competently made. For some reason this fine old Joseph Kuo feature disappeared for a while.
I’ve watched this film several times – it’s actually difficult to watch, the scene where the young boy gets wasted by Japanese machine gun fire is not fun. But the images keep pulling me along.This is a great film, for two reasons. But so much of this is rich in construction and detail that I insist it remains a classic – unrecognized but undeniable. I am an admirer of many of Billy Wilder’s movies – Stalag 17, Days of Wine and Roses, Some Like it Hot – and other wonderful, trend-setting, sophisticated, stylish films. It opens well; the title sequence is basically a snapshot of Dean Martin’s Las Vegas act of the time, and his twisted turn playing someone who might be himself has an undeniable fascination.Unfortunately, he is not the male lead of this film – RAY WALSTON is!
- Anyone who knows Hitchcock’s body of work will recognize how this resonates with themes of sexuality and fear in his other films.But, again the birds are an open metaphor – Hitchcock is clever enough not to bind their threat too tightly to his own paranoias here.
- Logan Lerman is a marvelous young actor who strikes chemistry with practically everyone he interacts with.
- But I expected more – a solid story taking advantage of the animated media.
- But most of the comments, both favorable and unfavorable, have been largely on the money – which in itself tells us we have a rather strange critter here.
But it is available on DVD, and if you enjoy old-school kung-fu flicks, I think you will find this highly entertaining. The characters are all likable, the martial arts exquisite, the endangered-princess storyline a classic. It’s very fast paced, and moves well between episodes of fighting, occasional fits of comedy, and there’s even a touch of drama in the relationship between one of the monks and an old friend who has since become a nasty Ching general. The final battle is a wild mêlée and the ending teeters on the tragic without falling over the cliff. I’ve seen reviews of Dreamland that complain of the animation.
Whenever the character undergoes pressure, she gets all wobbly and quirky, like a character actor playing a supporting role – but she’s not only the lead, she’s what the picture is all about, so this is definitely a flaw that threatens to derail the whole project.Fortunately, it doesn’t. First, of course, everyone else in the picture submits wonderful performances. Logan Lerman is a marvelous young actor who strikes chemistry with practically everyone he interacts with. And the film is really beautiful to look at, and filled with pleasantly eccentric characters, in situations highly evocative of the era in which they occur, the 1950s.Secondly, part of the problem with Zellweger’s performance may have to do with the character herself. Although she fancies herself a Deep-South Southern Belle, deserving of the better things in life, once we meet her sister we realize that she really comes from the mid-South commercial class, and that her attitude of entitlement is a self-delusion. She is thus out of touch with her own life, and in need of review of her identity.
But Once the film returns to Miami for the remainder, it sinks to a level of casual incompetence that only television allows for.Not even a decent time-waster; I stayed just to see how dumb it could get. Daphne Du Maurier’s work largely falls into he category of ‘gothic romance’ – not the kind that has glutted supermarkets since the ’50s, her best known books really hark back to the genre’s roots in the 19th century. Her short story, “The Birds,” is something of an anomaly in her work – on the surface its a sci-fi/disaster story that ends grimly (the farmer’s family is pretty much doomed); but it is also clearly an expressive allegory for what it must have felt like for many British during the Battle of Britain – the description of an army of seagulls appearing on the horizon could easily be that of a fleet of German bombers. The giveaway line comes from the farmer’s wife when she remarks that “surely the Americans will do something.” Of course they did, and they and the British went on to defeat the Germans, which makes the post-war publication of the story a little out of date.Hitchccock had gotten one of his most successful films from Du Maurier’s work – Rebecca – as well as one of his least successful, Under Capricorn. Deciding to take one of her most popular but least typical short stories as source for The Birds may have involved some risk – especially considering what he added to the original material.