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Post by RiP, IMDb on Jan 15, 2020 1:11:32 GMT
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Post by hitchcockthelegend on Jan 15, 2020 18:07:49 GMT
Ghost of Frank - Do you agree it was the start of the decline? > www.imdb.com/review/rw3327737/?ref_=tt_urvCarry On Screaming - One of the best of the series, and done without some of the series main players, an absolute riot of a Hammer Horror spoof > www.imdb.com/review/rw2328163/?ref_=tt_urvStargate - Saw it at the theatre on release and loved it, a big screen treat. I'll rewatch and edit my review as I want to see the extended cut, but I like it. Ocean's 11 - Definition of cool - but that's just me of course 
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Post by hitchcockthelegend on Jan 15, 2020 18:20:27 GMT
Bell Book And Candle / Richard Quine (1958). Columbia Pictures. Mildly amusing, overly long, comedy-fantasy that has become both a Christmas and Halloween staple. I watched this only because My Lovely Wife wanted to see the Siamese cat (actually 12 stunt cats) who plays a large part in the plot (we have a Siamese mix abiding in our house and have had three others – one mix, two pure – over the years). Gillian (Kim Novak) belongs to a family of witches which include her brother Nick (Jack Lemmon) and her dizzy aunt Queenie (Elsa Lanchester). She falls in love with the bachelor upstairs (James Stewart) so, against her better judgment, puts him under a spell to make him fall in love with her. Romantic comedy and a few chuckles ensue. I mostly enjoyed the supporting cast of accomplished comedy actors. In addition to Lemmon and Lanchester we are treated to Ernie Kovacs and Hermione Gingold.   Publicity still of Kim Novak with 9 of the 12 Siamese cats who were used in the film  - True fact, it's one of the films I watch yearly in the hope it gets better, but it never does. It remains a big let down to me. Let me explain > Pyewacket Pudding. It's one of those films that we all have, the movie that features actors you simply adore, but no matter how many times you watch it in the mystical hope that it will change and get better, but it never does. Bell Book & Candle is my pet frustration. Fronted by James Stewart and Kim Novak, supported by Jack Lemmon & Elsa Lanchester, this screen version of the theatre play has a modicum of charm befitting the story of a publisher who falls under the love spell of a modern day witch, but ultimately it plays out as dull. It looks nice, both in art direction and colour photography, Jimmy and Kim are pleasant of course, and Elsa, Hermione Gingold and Pyewacket the cat are bundles of fun, yet the belly laughs are missing, a need to care about the lovelorn and the restless sadly some place else. I have a framed still of Jimmy & Kim from this movie hanging in my hallway (even to this day), every time I pass it I point my finger at it and swear with sadness in my heart. I love those guys you see, the movie not so much... 5/10
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Post by hitchcockthelegend on Jan 15, 2020 18:22:45 GMT
How did you find that particular Trinity? It's in my Spag Westerns pile.
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Post by hitchcockthelegend on Jan 15, 2020 18:34:06 GMT
 Once again a poster over exaggerate since a Killer Whale ain't that big, neither in nature or in this movie (Blame the old King Kong Posters LOL) A lame Jaws wannabe, with a few virtues, Charlotte Rampling, Morricone's music and the cinematography that manages to make it look like a very secluded place and take advantage of the nature around.  Lovely Loretta, in a tight little thriller running just 75 minutes or so. Starts like a regular soap opera as she vacums the floor but her voice over starts telling us that something is not allright in the peacfull suburbs. Her husband played by Barry Sullivan, might be sane, and Loretta just chasing ghost?  As others here has written positive reviews of this Western who-done-it, I was interested to see for myself. It was one of the lamest transfers I've ever seen, it looked like a public domain colorization that someone turned back to black and white, where it's mostly very black or very white and very minimal grey scale, mostly none. Frankly it pissed me off! I know a little about the plot, and hopefully a better copy wiill come around, some sunny day!
Yep, Orca is a poor film, I have yet to review it because I haven't had the strength to rewatch since my last viewing 10 years ago. Cause for Alarm! - One of the lady reviewers on the original Imdb titled her review "Loretta's Going Postal", I had to write her a PM to congratulate her, I was so jealous. Very average I thought > Picket fence paranoia! Cause for Alarm! is directed by Tay Garnett and adapted to screenplay by Mel Dinelli and Tom Lewis from a story written by Larry Marcus. It stars Loretta Young, Barry Sullivan and Bruce Cowling. Music is scored by Andre Previn and cinematography by Joseph Ruttenberg. George Jones is suffering from a heart condition and confined to his bed. An aloof and suspicious man, he assumes his wife and doctor, the latter a good friend, are conspiring to poison him and outlines his suspicion in a letter to the District Atttorney. Getting his wife to pass the letter on to the postman, he gleefully tells his wife what he has done. So when he actually does die, shortly after, wife Ellen panics and sets about retrieving the letter... Slight plot but well acted, Cause for Alarm! is an efficient pot boiling thriller. Tagged as a "suburban noir," it's a film that has had an up and down experience in terms of critical appraisal. What we can say now is that it does carry with it a degree of ambiguity, where once back in the day it was seen as a straight forward narrative, with Young's ever increasingly fraught wife trying to correct a wrong she hasn't in fact done; now it's quite possible that her telling of the story (via narration) is "arguably" a hokey smoke screen for a dastardly deed. It's the ambiguity, to me at least, that gives the film watchable value. For without it the film just plays out as a chase and deceive movie, one with a couple of colourful characters inserted in for plot suspense enhancement, and featuring a clumsy character thread about parental yearning. Production (in 14 days) and cast performances are good. Young engages by exuding genuine sweaty stress, and supporting turns from Margalo Gillmore and Irving Bacon, as annoyingly talkative aunt and postman respectively, leave favourable marks. Direction from multi genre helmer Garnett is nicely on the simmer, while Ruttenberg's photography brings shadows and light to this twitchy part of suburbia. But the ending, if indeed there are no tricks being played, is a thoroughly unsatisfying outcome. There are those who have delved deep in search of meaning and explanations of character motives and reactions, with that the film has an aura of mystery about it. Certainly there are more questions than answers unfolded during the relatively short running time, and that's OK, we like that Sullivan's bile based husband courts no sympathy. However, it may well be that the film was merely just meant to be a suspenseful little ole race against time drama, a tale about a woman who just married a less than honourable man. It's watchable and the paranoia elements do indeed bring it into the film noir realm, but your enjoyment of it may depend on if you side with the theory that there is more than meets the eyes and ears. Personally I have my doubts, and the thought of having to watch it again is about as appealing as painting Loretta's picket fence on the hottest day of the year. 5/10 I'll have to check my copy of Tall In The Saddle. It's in my Westerns pile to see and it's out of a Duke Wayne Box Set. I dug it out because mike watched it last year as we was in an Ella Raines zone at the time. So now you have jogged my memory...
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Post by wmcclain on Jan 15, 2020 20:12:09 GMT
Ghost of Frank - Do you agree it was the start of the decline? It's all monster mashups after this, right? Until Creature from the Black Lagoon and then Frankenstein goes over to Hammer. My frustration: I was certain they were going to do something special with Cedric Hardwicke and Lionel Atwill because they look so much alike here. But that doesn't happen. Carry on Screaming is available on Blu-ray with a commentary track by the two female leads, done fairly recently I think. Many funny stories and inside info.
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Post by hitchcockthelegend on Jan 15, 2020 21:37:10 GMT
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Post by hitchcockthelegend on Jan 15, 2020 22:05:29 GMT
1917 - I haven't been to the theatre since Dunkirk but I'm considering going to see this next week. We very much like the same sort of historical epics so how did you find it? Twelve O'Clock High - King once again proving a master director, Peck is a given for performance, but Jagger is the high quality and Shamroy's photography for the aerial sequences - spliced footage and all, is superb. Humane war films with psychological smarts back then are too be treasured and re-appraised these days. The Stone Killer - www.imdb.com/review/rw2237458/?ref_=tt_urv 7/10 Kwai - 100/100, simples! Grand Prix - Big screen must, did you see it at your revival house? > www.imdb.com/review/rw3446307/?ref_=tt_urv
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Post by hitchcockthelegend on Jan 15, 2020 22:23:12 GMT
 Quantum of Solace (2008) 7 Revealed years later that the main draft of the script was completed just 2 hours before the US Writers Strike began, leading to the production unable to request re-writes, that ended up being done the director and the lead, who caused the movie to be more linked to Casino Royale than originally planned. The disjointed building in Michael G. Wilson and Paul Haggis screenplay, (who re-wrote the credited Neal Purvis and Robert Wade's first draft from scratch) actually benefits the film,thanks to it capturing the disjointed state of Bond, torn between a dour desire for revenge ignited by the death of his love, with a thrilling blood rush to dive head-first into a mission against the murky dealings of Dominic Greene,and Bond Girl Camille, who is kept tantalisingly ambiguous over who side she is on. Whilst the production issues were kept undercover in the script, they become visible in the action set-pieces, where co-writer/director Marc Forster and editors Matt Chesse and Richard Pearson piece Bond's fights together with a staple gun, clipping agitated half a second edits on grinding shaky cam. Taking a completely different approach to the non-Action majority of the film, Forster & cinematographer Roberto Schaefer eye a excellent jet-set Euro Spy atmosphere, stylishly gliding on reflective surfacing mirroring 007's espionage activities,cracking on the sun-kissed locations, dried up from Greene's vicious water business dealings. Opening a box which she finds contains info on assassinating her,Olga Kurylenko gives a terrific turn as Camille,whose Bond Girl glamour shines by punching into the fight scenes, which are rolled by Kurylenko with a lingering mistrust, whilst Mathieu Amalric gives a tasty, slippery take on boo-hiss baddie Greene. Injured three times on the set, Daniel Craig gives a wonderful, gritty performance in his second mission, with Craig recoiling Bond's thirst for revenge,which is threaded by Craig with a growing determination to make this mission a success on the cards. 1955 Noir duo: A Noir I stumbled on that I suspect hitchcockthelegend & mikef6 would enjoy. John Brahm's TV adaptation of Laura (1955)7. Full episode: Working with the director for the third time after the films The Lodger (1944) and Hangover Square (1945), George Sanders gives a delightful performance as Lydecker, who Sanders fills with a dry, dead-pan manner, topped by growing hints from Noir loner Lydecker that he is not showing all the colours he is painting with. Looking at her death mask portrait hanging from above,Dana Wynter gives a terrific turn as Laura, whose shock at learning that she was believed dead, Wynter balances with a calculating to appear relaxed on the outside in order to find out who wanted her dead. Given the rather challenging task of squeezing a 90 minute movie into a 43 minute TV version, the screenplay by Mel Dinelli wisely leans on the police procedure side of Noir over MacPherson attempting to uncover who the person who had believed that they had killed Laura, a belief which Dinelli uses to grate into Laura's despair over confronting her own death. Even when faced with the obstacle of this being live TV and the second ep in a series, director John Brahm hangs a refined Noir atmosphere on the walls, stylishly dissolving Laura's face to the death portrait haunting her, with Brahm tightly coiling wide shots to keep everyone imposed by the portrait of Laura's murder.  Dementia (1955) 9 The lone output by un-credited writer/ director John Parker, (similar to the one-off feature directing of the Carnival of Souls team) Parker closely works with sound effects editor Michael Pozen in layering the complex, dialogue free soundtracks,keeping George Antheil's excellent, spike-driven Noir score descending the woman deeper into the nightmare, which is inter-spaced by Parker and Pozen with pops of disembodied laughs, shattered glass and screams springing out from this hellish unknown. Puncturing the mind-set of the woman with the discovery of a knife in a draw, director Parker & editor Joseph Gluck jab the viewer with outstanding match-cuts, shattering the sanity of the woman. Scrambling down the street as cops surround a dead man with her necklace in hand, Parker and cinematographer William C. Thompson (who later did Plan 9 From Outer Space!) magically weave surrealist Horror and a haunting Film Noir atmosphere, bending ultra-stylised close-ups on the face of the woman attempting to reconstruct her diced Noir memories,with nightmare, ultra-stylised high angles on faceless figures stretching their arms out from all she is trying to escape. Carving into the long troubled history of the unnamed woman, (a superb, walking on eggshells with fear Adrienne Barrett) Parker impressively separates the screen/sets in two,tracking the woman back to the parental abuse she suffered, then pushing her memories into the present. - Informative review there chap. I was a hearty defender of it and thought I reviewed it with balance, boy was there some fearful bile thrown about on the Bond board back on the old site. I meant to rewatch it last week but I couldn't resist watching Skyfall instead. Anyway, leading up to the next film I'll be watching all the Bond's again so will most likely be editing my old review of Solace, but I stand by my assertion that it's hardly a crap film, and we rate the same. > www.imdb.com/review/rw5411005/?ref_=tt_urv
Dementia - So glad you liked it, I presume you did see my post back in October? If not here it is > IMDB2.freeforums.net/post/3338397Thank You for Laura, buddy 
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Post by OldAussie on Jan 15, 2020 23:16:41 GMT
hitchcockthelegend1917 - fairly straight forward plot, but excellent cinematography and the "guest stars" (Colin Firth, Mark Strong and Cumberbatch) each make an impression despite very limited screen time. Good score too, and that's something I rarely say these days. If anything I slightly preferred it to Dunkirk. 7.5/10 Twelve O'Clock High - Enjoyed this even more on my 2nd viewing - can't believe I've only seen it twice. Not a weak link in the cast. 8.5/10 The Stone Killer - One of my guilty pleasures - watch it most years. 7/10 Kwai - In my top 10 and Guinness is my 2nd favourite best actor winner after Scott. Simply fantastic on every level and some very funny moments too. 10/10 Grand Prix - Saw it on the big screen around 1969 - this was only on DVD. Motor racing is one of the few sports in which I have zero interest but this is such a wonderfully made film (best use of split screen EVER) and a cast of favourites means I really like it. 8/10
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Post by morrisondylanfan on Jan 16, 2020 0:20:53 GMT
Quantum of Solace (2008) 7 Revealed years later that the main draft of the script was completed just 2 hours before the US Writers Strike began, leading to the production unable to request re-writes, that ended up being done the director and the lead, who caused the movie to be more linked to Casino Royale than originally planned. The disjointed building in Michael G. Wilson and Paul Haggis screenplay, (who re-wrote the credited Neal Purvis and Robert Wade's first draft from scratch) actually benefits the film,thanks to it capturing the disjointed state of Bond, torn between a dour desire for revenge ignited by the death of his love, with a thrilling blood rush to dive head-first into a mission against the murky dealings of Dominic Greene,and Bond Girl Camille, who is kept tantalisingly ambiguous over who side she is on. Whilst the production issues were kept undercover in the script, they become visible in the action set-pieces, where co-writer/director Marc Forster and editors Matt Chesse and Richard Pearson piece Bond's fights together with a staple gun, clipping agitated half a second edits on grinding shaky cam. Taking a completely different approach to the non-Action majority of the film, Forster & cinematographer Roberto Schaefer eye a excellent jet-set Euro Spy atmosphere, stylishly gliding on reflective surfacing mirroring 007's espionage activities,cracking on the sun-kissed locations, dried up from Greene's vicious water business dealings. Opening a box which she finds contains info on assassinating her,Olga Kurylenko gives a terrific turn as Camille,whose Bond Girl glamour shines by punching into the fight scenes, which are rolled by Kurylenko with a lingering mistrust, whilst Mathieu Amalric gives a tasty, slippery take on boo-hiss baddie Greene. Injured three times on the set, Daniel Craig gives a wonderful, gritty performance in his second mission, with Craig recoiling Bond's thirst for revenge,which is threaded by Craig with a growing determination to make this mission a success on the cards. 1955 Noir duo: A Noir I stumbled on that I suspect hitchcockthelegend & mikef6 would enjoy. John Brahm's TV adaptation of Laura (1955)7. Full episode: Working with the director for the third time after the films The Lodger (1944) and Hangover Square (1945), George Sanders gives a delightful performance as Lydecker, who Sanders fills with a dry, dead-pan manner, topped by growing hints from Noir loner Lydecker that he is not showing all the colours he is painting with. Looking at her death mask portrait hanging from above,Dana Wynter gives a terrific turn as Laura, whose shock at learning that she was believed dead, Wynter balances with a calculating to appear relaxed on the outside in order to find out who wanted her dead. Given the rather challenging task of squeezing a 90 minute movie into a 43 minute TV version, the screenplay by Mel Dinelli wisely leans on the police procedure side of Noir over MacPherson attempting to uncover who the person who had believed that they had killed Laura, a belief which Dinelli uses to grate into Laura's despair over confronting her own death. Even when faced with the obstacle of this being live TV and the second ep in a series, director John Brahm hangs a refined Noir atmosphere on the walls, stylishly dissolving Laura's face to the death portrait haunting her, with Brahm tightly coiling wide shots to keep everyone imposed by the portrait of Laura's murder. Dementia (1955) 9 The lone output by un-credited writer/ director John Parker, (similar to the one-off feature directing of the Carnival of Souls team) Parker closely works with sound effects editor Michael Pozen in layering the complex, dialogue free soundtracks,keeping George Antheil's excellent, spike-driven Noir score descending the woman deeper into the nightmare, which is inter-spaced by Parker and Pozen with pops of disembodied laughs, shattered glass and screams springing out from this hellish unknown. Puncturing the mind-set of the woman with the discovery of a knife in a draw, director Parker & editor Joseph Gluck jab the viewer with outstanding match-cuts, shattering the sanity of the woman. Scrambling down the street as cops surround a dead man with her necklace in hand, Parker and cinematographer William C. Thompson (who later did Plan 9 From Outer Space!) magically weave surrealist Horror and a haunting Film Noir atmosphere, bending ultra-stylised close-ups on the face of the woman attempting to reconstruct her diced Noir memories,with nightmare, ultra-stylised high angles on faceless figures stretching their arms out from all she is trying to escape. Carving into the long troubled history of the unnamed woman, (a superb, walking on eggshells with fear Adrienne Barrett) Parker impressively separates the screen/sets in two,tracking the woman back to the parental abuse she suffered, then pushing her memories into the present. - Informative review there chap. I was a hearty defender of it and thought I reviewed it with balance, boy was there some fearful bile thrown about on the Bond board back on the old site. I meant to rewatch it last week but I couldn't resist watching Skyfall instead. Anyway, leading up to the next film I'll be watching all the Bond's again so will most likely be editing my old review of Solace, but I stand by my assertion that it's hardly a crap film, and we rate the same. > www.imdb.com/review/rw5411005/?ref_=tt_urv
Dementia - So glad you liked it, I presume you did see my post back in October? If not here it is > IMDB2.freeforums.net/post/3338397Thank You for Laura, buddy Hi Spike,with QOS,I saw it at the cinema the day after having seen Casino on DVD,and at the time found it really difficult to click with, (I originally would have rated it 5 out of 10) largely due to hoping just for Casino 2. Similar to when viewing Thunderball away from Goldfinger, I enjoyed QOS much more than I was expecting when watching it on its own, (such as the darkly comedic goodbye to the baddie) although with how groundbreaking Peter Hunt's editing was,I was surprised by how chopping the editing for the action scenes were. I hope you enjoy Laura,Spike,it's only 45 mins.
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Post by MrFurious on Jan 16, 2020 14:30:19 GMT
How did you find that particular Trinity? It's in my Spag Westerns pile. Well, it was better than Blade Trinity. Seriously though I'd never heard of these 2 guys before and even watched 3 more of their movies yesterday. If you like silly infantile comedy you'll love Trinity, I wish my father had seen these, he loved these kinds of comedys. Just looked and found Trinity Is Still My Name on youtube and saved it
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Post by hitchcockthelegend on Jan 16, 2020 23:50:54 GMT
Революция для людей! Red Tails (2012)  Tells the tale of the Tuskegee pilots in Italy during World War II. It could have used a little more depth but it was entertaining all the same. Lady and the Tramp (1955)  Meatballs have never been more romantic. A perfect little Disney movie. - A chap I used to work with (he's retired now) gave me the DVD, said he hated the film, he told me to watch it and give it to the charity shop afterwards. I thought it was actually ok, but people do need to realise it's a fictionalised account > www.imdb.com/review/rw2746622/?ref_=tt_urvLady and the Tramp original - one of my first childhood memories of going to a theatre to watch a film was this one, so it has a special place in my heart.
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Post by hitchcockthelegend on Jan 16, 2020 23:57:25 GMT
Carry on Screaming is available on Blu-ray with a commentary track by the two female leads, done fairly recently I think. Many funny stories and inside info. I presume one of them is Angela Douglas? - Fenella Fielding died 2 years ago, so I imagine she's the other one and the track must have been done prior to then of course.
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Post by hitchcockthelegend on Jan 16, 2020 23:59:43 GMT
hitchcockthelegend 1917 - fairly straight forward plot, but excellent cinematography and the "guest stars" (Colin Firth, Mark Strong and Cumberbatch) each make an impression despite very limited screen time. Good score too, and that's something I rarely say these days. If anything I slightly preferred it to Dunkirk. 7.5/10 Twelve O'Clock High - Enjoyed this even more on my 2nd viewing - can't believe I've only seen it twice. Not a weak link in the cast. 8.5/10 The Stone Killer - One of my guilty pleasures - watch it most years. 7/10 Kwai - In my top 10 and Guinness is my 2nd favourite best actor winner after Scott. Simply fantastic on every level and some very funny moments too. 10/10 Grand Prix - Saw it on the big screen around 1969 - this was only on DVD. Motor racing is one of the few sports in which I have zero interest but this is such a wonderfully made film (best use of split screen EVER) and a cast of favourites means I really like it. 8/10 Thanks for the feedback chap. Hopefully I can fit 1917 into my schedule next week.
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Post by hitchcockthelegend on Jan 17, 2020 0:04:44 GMT
How did you find that particular Trinity? It's in my Spag Westerns pile. Well, it was better than Blade Trinity. Seriously though I'd never heard of these 2 guys before and even watched 3 more of their movies yesterday. If you like silly infantile comedy you'll love Trinity, I wish my father had seen these, he loved these kinds of comedys. Just looked and found Trinity Is Still My Name on youtube and saved it I only recently watched them in Ace High (1968) - www.imdb.com/title/tt0064860/reference - www.imdb.com/review/rw5324411/?ref_=tt_urv - Think you would like that one, it's not over daft and has Wallach in it.
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Post by wmcclain on Jan 17, 2020 0:50:39 GMT
Carry on Screaming is available on Blu-ray with a commentary track by the two female leads, done fairly recently I think. Many funny stories and inside info. I presume one of them is Angela Douglas? - Fenella Fielding died 2 years ago, so I imagine she's the other one and the track must have been done prior to then of course. Yes, both.
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Post by teleadm on Jan 17, 2020 19:19:17 GMT
Once again a poster over exaggerate since a Killer Whale ain't that big, neither in nature or in this movie (Blame the old King Kong Posters LOL) A lame Jaws wannabe, with a few virtues, Charlotte Rampling, Morricone's music and the cinematography that manages to make it look like a very secluded place and take advantage of the nature around. Lovely Loretta, in a tight little thriller running just 75 minutes or so. Starts like a regular soap opera as she vacums the floor but her voice over starts telling us that something is not allright in the peacfull suburbs. Her husband played by Barry Sullivan, might be sane, and Loretta just chasing ghost?
- One of the lady reviewers on the original Imdb titled her review "Loretta's Going Postal", I had to write her a PM to congratulate her, I was so jealous. Very average I thought > Picket fence paranoia! Cause for Alarm! is directed by Tay Garnett and adapted to screenplay by Mel Dinelli and Tom Lewis from a story written by Larry Marcus. It stars Loretta Young, Barry Sullivan and Bruce Cowling. Music is scored by Andre Previn and cinematography by Joseph Ruttenberg. George Jones is suffering from a heart condition and confined to his bed. An aloof and suspicious man, he assumes his wife and doctor, the latter a good friend, are conspiring to poison him and outlines his suspicion in a letter to the District Atttorney. Getting his wife to pass the letter on to the postman, he gleefully tells his wife what he has done. So when he actually does die, shortly after, wife Ellen panics and sets about retrieving the letter... Slight plot but well acted, Cause for Alarm! is an efficient pot boiling thriller. Tagged as a "suburban noir," it's a film that has had an up and down experience in terms of critical appraisal. What we can say now is that it does carry with it a degree of ambiguity, where once back in the day it was seen as a straight forward narrative, with Young's ever increasingly fraught wife trying to correct a wrong she hasn't in fact done; now it's quite possible that her telling of the story (via narration) is "arguably" a hokey smoke screen for a dastardly deed. It's the ambiguity, to me at least, that gives the film watchable value. For without it the film just plays out as a chase and deceive movie, one with a couple of colourful characters inserted in for plot suspense enhancement, and featuring a clumsy character thread about parental yearning. Production (in 14 days) and cast performances are good. Young engages by exuding genuine sweaty stress, and supporting turns from Margalo Gillmore and Irving Bacon, as annoyingly talkative aunt and postman respectively, leave favourable marks. Direction from multi genre helmer Garnett is nicely on the simmer, while Ruttenberg's photography brings shadows and light to this twitchy part of suburbia. But the ending, if indeed there are no tricks being played, is a thoroughly unsatisfying outcome. There are those who have delved deep in search of meaning and explanations of character motives and reactions, with that the film has an aura of mystery about it. Certainly there are more questions than answers unfolded during the relatively short running time, and that's OK, we like that Sullivan's bile based husband courts no sympathy. However, it may well be that the film was merely just meant to be a suspenseful little ole race against time drama, a tale about a woman who just married a less than honourable man. It's watchable and the paranoia elements do indeed bring it into the film noir realm, but your enjoyment of it may depend on if you side with the theory that there is more than meets the eyes and ears. Personally I have my doubts, and the thought of having to watch it again is about as appealing as painting Loretta's picket fence on the hottest day of the year. 5/10 Thanks for your review! Thanks for the reply! Maybe I would have give Cause for Alarm 6/10 but absolutely not more. It reminded me of those Alfred Hitchcock presents stories, where there is a surprise in the end (I forgot to write that). Good luck with Orca!
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Post by RiP, IMDb on Jan 18, 2020 2:06:20 GMT
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