Author: Stan

Today’s quick review: Up in the Air. Ryan Bingham (George Clooney) leads a transient life. His job takes him all over the United States, flying to new cities to help companies fire their employees. Along the way, he strikes up a casual relationship with Alex (Vera Farmiga), a fellow traveler. But Ryan is forced to rethink his commitment-free philosophy when Natalie (Anna Kendrick), a young colleague, proposes a change that could ground him for good.

Up in the Air is a movie about a career traveler struggling with the idea of putting down roots. George Clooney stars as Ryan, a loner who has gotten his nomadic lifestyle down to a science. Up in the Air dabbles in comedy, romance, and drama as it dissects Ryan’s life and explores the personal and professional factors pushing him to change. Solid character work and a fairly unique premise are enough to make the movie a worthwhile watch.

Up in the Air gets a lot of mileage out of its main character. Ryan hits a sweet spot for a protagonist: personable enough to make the movie pleasant, but with clear flaws for the story to work with. His arc isn’t as extreme as in some other movies, but his unusual philosophy and way of living give Up in the Air some interesting themes to explore. The result is a nicely varied look at love, corporate culture, and finding meaning in life.

However, Up in the Air never quite seals the deal. Some comedy falls naturally out of the characters’ personalities, but it’s never the main focus. The romance is a sidelong affair that creeps up on Ryan as much as it does the audience. The drama is piecemeal, dealing with real issues but without the focus or impact of more conventional stories. To the movie’s credit, this open-endedness works in its favor, fitting nicely with its ambivalent themes.

How much you get out of Up in the Air will depend on what you’re looking for in a story. Up in the Air asks questions without clear answers, is firmly grounded in modern culture, and touches on meaningful themes without dipping too heavily into drama. For some viewers, these traits will be a breath of fresh air. Others will find it too loose and unfocused to truly invest in. Curious viewers should give it a shot; skeptics should steer clear.

For a George Clooney comedy that dips more heavily into romance, try Out of Sight. For a more anarchic critique of modern culture, try Fight Club. For a similar portrait of a less stable character, try The Informant!.

7.4 out of 10 on IMDB. I give it a 7.0 for multifaceted characters and a contemplative story.

Today’s quick review: Monster-in-Law. Charlie (Jennifer Lopez) finds the man of her dreams when she meets Kevin (Michael Vartan), a handsome doctor with a great personality. The two fall deeply in love, and after a few months of dating, Kevin asks Charlie to marry him. There’s only one catch: Kevin’s domineering mother Viola (Jane Fonda), who sets out to make Charlie’s life as miserable as possible in hopes of getting her to call off the wedding.

Monster-in-Law is a romantic comedy about the rivalry between a bride-to-be and her future mother-in-law. Viola does everything in her power to torment Charlie, from flaunting her wealth and successful career to sabotaging the wedding plans. What follows is a social battle of wits as Charlie tries to fend off Viola’s attacks while keeping her relationship with Kevin intact. Monster-in-Law makes for an entertaining but insubstantial comedy.

Monster-in-Law’s greatest asset is its cast. Jennifer Lopez strikes the right balance between sweet and cunning as Charlie, a genuinely nice person who still has the spine to stand up to Viola. Jane Fonda is a natural fit for Viola, capturing her ruthlessness and affinity for low-grade villainy. But the film’s unsung hero is Wanda Sykes, who plays Viola’s long-suffering assistant Ruby. Her sarcastic quips are the best-delivered lines in the film.

Still, Monster-in-Law doesn’t pack any real surprises. The story covers just enough ground to set up the conflict between Charlie and Viola, play it out, and wrap everything up nicely. There are no subplots of note, the stakes never rise above the level of social skirmishing, and even Charlie and Kevin’s relationship takes a back seat to Viola’s scheming. None of this detracts from the comedy, but it does make Monster-in-Law a shallow watch.

Monster-in-Law will appeal to fans of romantic comedy who are in the mood for something more on the comedy side. Monster-in-Law makes no pretense of being a deep movie, and anyone looking to be impressed will be disappointed. But those who are looking for a light popcorn watch with a decent cast and an entertaining setup should look no farther. Skip it if you’re looking for more fulfilling romance or comedy with more bite.

For a comedy about the relationship between a young woman and her insufferable mentor, try The Devil Wears Prada. For a romantic comedy about a high-class wedding, try The Philadelphia Story or High Society.

5.5 out of 10 on IMDB. I give it a 6.5 for simple, cleanly executed comedy but not much more.

Today’s quick review: The African Queen. The outbreak of World War I spells disaster for Rose Sayer (Katharine Hepburn), a British missionary to East Africa, when German troops burn the village where she was stationed. Left with nothing, Rose turns to Charlie Allnutt (Humphrey Bogart), a Canadian riverboat captain, to get her out of the region safely. Together they embark on a perilous journey downriver aboard Charlie’s boat, The African Queen.

The African Queen is a romantic adventure about two survivors trying to escape from German-controlled East Africa. Their only way out is down a river filled with fearsome rapids, deadly animals, and German soldiers, all leading to a lake patrolled by a well-armed German steamer. The African Queen is a classic adventure that mixes peril and heroism in equal parts. However, its unusual tone makes it less accessible than later entries in the genre.

The African Queen has uncharacteristic roles for its leading duo. Rose and Charlie are simpler, more earnest characters than the ones Katharine Hepburn and Humphrey Bogart are known for. There’s no sharp-tongued banter to drive the romance or cynical barb at the heart of the drama. Instead, Rose and Charlie are kind, generous people who find that their superficial differences are nothing compared to what they have in common.

Their relationship gives the entire movie an odd dynamic. On the one hand, Rose and Charlie are very believable characters, ordinary people thrust into a dangerous situation. On the other hand, the way they get along saps the movie of some of its dramatic heft. Where another movie would try to ratchet up the tension at key moments, The African Queen seems content to let its heroes be who they are and deal with the dangers of the river in their own way.

This underlying optimism will appeal to some viewers, but it may throw off the tonal balance of the movie for those used to other adventure yarns. The African Queen does have its merits, including a sweet and honest romance, a unique pair of main characters, and a well-constructed series of challenges for them to face. But what it achieves doesn’t fit into a neat box, making it a classic that will resonate more with some viewers than others.

For a romantic adventure with more comedy, try Romancing the Stone. For another drama starring Humphrey Bogart, try Casablanca or The Treasure of the Sierra Madre. For a much more violent riverboat trip set against the backdrop of war, try Rambo.

7.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for solid overall execution and hit-or-miss character work.

“As God is my witness, I’ll never be hungry again.” —Scarlett O’Hara

Today’s quick review: Gone with the Wind. On the eve of the Civil War, Scarlett O’Hara (Vivien Leigh), the daughter of a Georgian plantation owner, vies with Melanie Hamilton (Olivia de Havilland) for the affections of her neighbor, Ashley Wilkes (Leslie Howard). But as the War takes its toll on the South, Scarlett must resort to increasingly desperate measures to keep her family afloat, including turning to Rhett Butler (Clark Gable) for help.

Gone with the Wind is a historical romantic drama about a Southern heiress and what she must do to survive the devastation of the Civil War. The movie is a character portrait of Scarlett O’Hara, a pampered and petty woman who must find the strength to face unbearable hardship and carry the burden of her mistakes. Gone with the Wind’s expansive story, rich historical setting, insightful characters, and iconic script secure its place as a cinematic classic.

Gone with the Wind has a scope that few other movies even attempt. Its lengthy run time of nearly four hours gives it the space it needs to show the utter transformation of the South and its inhabitants. Beginning in the genteel, arrogant days before the War, Gone with the Wind shows the suffering and deprivation caused by the fighting, the turbulence and injustice of Reconstruction, and the loss of an entire way of life.

Along with the broader turmoil of the South, Gone with the Wind chronicles the misfortunes of the O’Haras and the Wilkes, two aristocratic families left with nothing after the War. The film captures a broad slice of humanity in the ways its characters react to hardship. The honorable resignation of Ashley, the cynical selfishness of Rhett, the selfless caring of Melanie, and the hard pragmatism of Scarlett are all moving in their own way.

Scarlett in particular forms the heart of the film. Scarlett is a woman of great virtues and greater faults. The same resilience that sees her through crisis after crisis leads her to manipulate those around her, sacrifice their happiness for her own, and chase childish dreams out of sheer obstinacy. The only person to understand her fully is Rhett Butler, setting the stage for one of the most tangled romances ever put on the screen.

Gone with the Wind supports all of this with a quality of execution that’s hard to fault. The performances are utterly convincing, vivid characters brought to life with all of their flaws. The cinematography stands the test of time, with shots that remain gorgeous eight decades after the film’s release. The production values capture the impressive scale of the story, while the dialogue is some of the most iconic in the history of the medium.

Gone with the Wind’s only major failing is one that cannot be helped: its drama will not appeal to everyone. Scarlett O’Hara is a great character but not necessarily a likable one; investing in four hours of her hardship will be a tall order for some viewers. The movie also beats down its characters repeatedly, with precious little hope to carry them through. Those who dislike this desperate sort of drama will get very little out of the film.

That said, Gone with the Wind has the scope, the craftsmanship, and the thematic depth to earn its place as one of the greatest dramas of all time. The film is a must-see for fans of classic cinema and a worthwhile pick for anyone interested in complex characters and rich historical settings. The drama is more harrowing than some will prefer, but those willing to take what it has to offer will find Gone with the Wind to be well worth the investment.

For an even more grievous tale of human suffering, try Schindler’s List. For a simple character study of a flawed woman, try Breakfast at Tiffany’s. For a Western of similar scope, craftsmanship, and humanity set against the backdrop of the Civil War, try The Good, the Bad and the Ugly.

8.1 out of 10 on IMDB. I give it an 8.5 for impressive craftsmanship from start to finish.

Today’s quick review: Penny Serenade. On the verge of leaving her husband Roger (Cary Grant), Julie Adams (Irene Dunne) reminisces about the years they spent together and how their marriage fell apart. Her trip down memory lane takes her to the first time they met, the time they spent overseas, and their attempts to start a family. But along with the good memories come the painful ones, the tragic events that drove them apart.

Penny Serenade is a romantic drama about the travails of a couple who were once deeply in love. Irene Dunne and Cary Grant star as Julie and Roger, a married couple trying to pick up the pieces of the dreams they used to share. Penny Serenade is a far-reaching drama that charts the course of an entire relationship. Strong character work, a tragic story, and the realization of some very real fears make the movie a classic that stands the test of time.

Penny Serenade is a gut-wrenching watch. The highs of Julie and Roger’s relationship are typical for a romance from the era, but the lows are much more devastating than usual. The story does require a bit of investment from the viewer, and Julie and Roger aren’t exceptional characters, at least to start out with. But over the course of the film, they earn the audience’s sympathy the hard way, turning the ups and downs of their lives into a coherent story.

The subtle touch that makes the story work is the way the characters grow and adapt to the challenges they face. Roger begins the story as a brash young newspaperman, eager to make his mark and quick to take chances, until marriage teaches him the meaning of responsibility. Julie must reconcile Roger’s career ambitions with her own dreams of motherhood. The characters’ struggles give them unusual depth and give the movie a powerful payoff.

There are a few places where Penny Serenade doesn’t achieve the desired effect. The cruel and abrupt nature of its twists will take some viewers out of the story; they are blunt, obvious sources of drama that only attain subtlety as they play out over time. The occasional moments of domestic comedy also interact strangely with the drama, while the long time frame of the story leads to some odd pacing, though nothing unusual for a more biographical film.

But taking its particular mode of storytelling in stride, Penny Serenade is an effective drama that handles delicate topics with skill. Those who don’t mind the style and pacing of the classics will find it to be well worth a shot. Those hoping for a more idyllic romance or a drama with subtler twists may want to steer clear. For a similarly retrospective drama, try Citizen Kane. For a lighter romance starring Cary Grant, try The Philadelphia Story.

7.1 out of 10 on IMDB. I give it a 7.5 for a powerful story for the right viewer.

Today’s quick review: Holiday. Johnny Case (Cary Grant) thinks he’s found the girl of his dreams when he meets Julia Seton (Doris Nolan), a wealthy heiress. But his working-class background and lack of financial ambition sit poorly with Edward (Henry Kolker), Julia’s father. As Johnny tries to convince him that he’s the right man for Julia, he finds an unexpected ally in Linda (Katharine Hepburn), Julia’s sister and the black sheep of the family.

Holiday is a romantic comedy and drama about an up-and-coming young man faced with the dizzying prospect of marrying into money. Cary Grant stars as Johnny Case, a hard-working man who dreams of seeing the world before he settles down. His unconventional ideas sit poorly with both his fiance and his future father-in-law, but they find a more receptive audience with her sister. This simple setup blooms into a capably handled and well-acted story.

Holiday has more nuanced writing than other films of its ilk. The core of the story is a love triangle, with Johnny pulled between Julia, the sister he fell in love with, and Linda, the one with whom he has the most in common. But Holiday goes beyond the basics with its character interactions, layering them with countless little decisions that reveal who the characters are and what they value: wealth, stability, and security, or love and adventure.

The story works so well in part because of the strong performances Holiday gets from its cast. Cary Grant strikes a fine balance as Johnny: reliable and just dignified enough to pass in polite company, but with a playful streak that’s absent from his bride-to-be. His scenes with Katharine Hepburn are as effortless and witty as any of their work together, and their playful interactions are both the comedic heart and the dramatic crux of the movie.

Holiday is an unexpectedly solid pick for fans of the classics. The movie takes a simple premise and, through the quality of its writing and its acting, builds it up into a rich story with effective both effective jokes and full character arcs. Not everyone will relate to its conflicts, and its romance is missing some of the passion of its rivals. But it has enough to offer to please fans of Cary Grant, Katharine Hepburn, or classic comedies in general.

For an even sharper romantic comedy starring Cary Grant and Katharine Hepburn, try The Philadelphia Story. For a more madcap comedy with Katharine Hepburn, try Bringing Up Baby. For a romantic drama about the shackles of wealth, try Roman Holiday.

7.8 out of 10 on IMDB. I give it a 7.5 for a satisfying story and a pair of well-used leads.

Today’s quick review: The Amazing Adventure. Sick of his life of luxury, Ernest Bliss (Cary Grant) makes a bet with his doctor (Peter Gawthorne) that he can make it a full year without touching his fortune. Ernest sets out to find an honest job and ends up selling stoves for Mr. Masters (John Turnbull), a struggling businessman. The work is hard, but one thing makes it worthwhile: his relationship with Frances Clayton (Mary Brian), Masters’ secretary.

The Amazing Adventure is a romantic comedy about a millionaire who gives up his fortune in favor of a life of honest work. Ernest faces the challenge of finding a job, the difficulty of keeping it, and the unexpected joys of connecting with other people. The Amazing Adventure is a tidy little movie with a promising setup and a capable lead in Cary Grant. However, the limited scope of its story keeps it from living up to its full potential.

The Amazing Adventure has the setup for an interesting character arc, but its follow-through is lacking. The main issue is that Ernest doesn’t grow as a person nearly as much as the story seems to imply. From the beginning, he’s an honest man who’s grateful for any lucky breaks he gets. All that really changes is how much money he has to work with. Unfortunately, this undercuts the drama of the story; Ernest never seems to suffer for his principles.

The Amazing Adventure still does a decent job of going through the motions. The movie gives Ernest a chance to use his ingenuity, to help the people around him, to develop a real relationship with Frances, and to deal with a few unusual consequences of his bet. Cary Grant is his likable, even-keeled self, and although there isn’t very much overt comedy, the movie makes for a pleasant watch. It just doesn’t have that much to say.

The Amazing Adventure is a decent pick if you’re a fan of the classics and are looking for something quick. The story isn’t as well-developed as some of the other movies from the era, but Cary Grant is a reliable draw, and there’s just enough going on to keep a willing viewer entertained. But those who are looking to be impressed would be better off trying something else. The Amazing Adventure is neither as insightful nor as moving as it could be.

For a romantic comedy starring Cary Grant in another high-society role, try The Philadelphia Story. For a classic rags-to-riches comedy with better character work, try My Man Godfrey. For a comedy about a wealthy man fallen on hard times, try Trading Places.

6.3 out of 10 on IMDB. I give it a 6.0 to 6.5 for a decent story without much meat on its bones.

“This is no time to argue. Get married first, then fight.” —Connie

Today’s quick review: That Touch of Mink. Cathy Timberlake’s (Doris Day) rotten luck turns around when Philip Shayne (Cary Grant), a suave millionaire, almost hits her with his car. What begins as a brusque apology turns into a romantic evening in Bermuda as Philip takes a liking to her. But with Cathy nervous about their brief fling and Philip unwilling to commit to anything more, their relationship threatens to fizzle out before it can even begin.

That Touch of Mink is a classic romantic comedy starring Cary Grant and Doris Day. The movie follows the tumultuous relationship between Cathy, a woman with a traditional upbringing and a shy personality, and Philip, a wealthy man who’s a little too effective in sweeping her off her feet. The setup leads to some fun humor as the two change their minds about their relationship, but it’s missing the romantic heft of some of its competition.

That Touch of Mink has an unusual type of romance. Cathy and Philip fall into their relationship backwards, driven by obstinacy and poor decisions as much as genuine attraction. The movie gets most of its comedy from the back-and-forth between the two as they try to decide whether what they have is a brief fling, a marriage in the making, or nothing at all. To its credit, the movie finds ways to keep them coming back to each other in spite of it all.

However, That Touch of Mink doesn’t have as much to offer as some other classics. Cary Grant and Doris Day are well-cast but don’t get the chance to show off their chemistry in an organic way. The story jerks the characters around enough that there’s no chance for a romance to emerge naturally. And while the gags are consistently amusing, they aren’t as sharply written as some of the best films of the era.

That Touch of Mink is a decent pick for fans of the classics who don’t mind something a little offbeat. The odd relationship between Cathy and Philip, a charming sense of humor, and two skilled supporting actors in Audrey Meadows and Gig Young are enough to make That Touch of Mink a worthwhile watch for those interested. Skeptical viewers would do better with one of the other romances of the era.

For a romantic comedy about a similarly mismatched couple, try Sabrina. For a romantic musical with some of the same merits, try Funny Face. For one starring Doris Day, try The Pajama Game. For a more enduring romance, comedy, and thriller starring Cary Grant, try Charade.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for a decent setup and a good pair of leads, hurt somewhat by its tricky character dynamics.

Today’s quick review: Chocolat. Vianne (Juliette Binoche) causes a stir in a quiet French village when she opens up a chocolate shop just in time for the fasting season of Lent. With the help of her daughter Anouk (Victoire Thivisol), Vianne sets out to sweeten the lives of the villagers one chocolate at a time. But her decadent treats make an enemy of the Comte de Reynaud (Alfred Molina), the mayor of the village and its zealous moral guardian.

Chocolat is a movie with elements of comedy, drama, and romance. Vianne and her daughter travel from town to town in the French countryside, selling chocolate until they are forced to move on. Chocolat follows them as they settle into a new town and try to make friends with its insular residents. Chocolat is an optimistic movie that shows the good a bit of kindness can do. A talented cast and a nicely varied story make it an enjoyable watch.

Chocolat has the flavor of a romance but not the specific ingredients. Love abounds in the tiny village, and Vianne even finds a kindred spirit in Roux (Johnny Depp), an Irish traveler who passes through. But the focus of the story is on the relationship between Vianne and the village itself. Through a series of kind gestures, Vianne improves the lives of the villagers, shakes up its stuffy traditions, and prompts even the mayor to reconsider his life.

This setup paves the way for both light-hearted moments and dramatic ones. The movie explores the conflict between Vianne’s unconventional lifestyle and the rigid social structure of the village, leading to some good dramatic tension. But the overall tone is upbeat, celebrating the beauty of Vianne’s work and the small ways she improves the lives of those around her. The result is a story that’s satisfying in a lot of little ways.

How much you get out of Chocolat will depend heavily on taste. Those who enjoy uplifting stories peppered with low-stakes conflict and detailed personal relationships will get just what they want out of the film. Those who prefer more focused stories, heavier forms of romance, or protagonists who are less saintly will get less out of the film. In any case, the quality of its story and characters make Chocolat worth trying for those curious.

For a romantic French comedy about a woman who brings joy to the people around her, try Amelie. For an animated Christmas comedy about a man who breathes new life into a joyless town, try Klaus. For a romantic comedy suffused with small-town charm, try The Englishman Who Went Up a Hill But Came Down a Mountain.

7.2 out of 10 on IMDB. I give it a 7.0 for a charming premise and solid execution.

Today’s quick review: Woman of the Year. Tess Harding (Katharine Hepburn), a political commentator for the New York Chronicle, makes an enemy of Sam Craig (Spencer Tracy), the paper’s sports columnist, when she suggests outlawing baseball in favor of more meaningful pastimes. Their public feud turns into a private romance as the two get to know each other better. But with their very different lifestyles, Tess and Sam struggle to find common ground.

Woman of the Year is a classic romance about an accomplished journalist who falls in love with an ordinary sportswriter. Katharine Hepburn and Spencer Tracy star as a mismatched couple who nonetheless find something special in one another. The movie alternates between comedy and drama without pushing too far in either direction. The skill of its lead actors and an interesting relationship to explore make Woman of the Year a solid pick.

Woman of the Year sets itself apart with the subtle touches it puts on Tess and Sam’s relationship. The two are drawn to each other for reasons that are hard for either one to articulate. They have good chemistry, but unlike the couples in other romantic comedies, their banter isn’t at the heart of their relationship. Instead they have a deeper connection, one that leads to problems as they try to reconcile their different ways of looking at the world.

The catch is that Woman of the Year doesn’t have much in the way of concrete plot. The early part of the movie is spent introducing Tess, Sam, and their unlikely relationship. Later on, the focus quietly shifts to the challenges they face as a couple. There’s no external conflict fueling the drama, just the gradual realization that their relationship will take more work than either one expected.

Woman of the Year is a solid pick for fans of the classics. Katharine Hepburn and Spencer Tracy are great together, and although the movie never reaches the comedic heights of its rivals, its tonal variety and more mature depiction of romance make it an enduring film nonetheless. Those who want something with a more focused plot may want to look elsewhere, as will viewers who prefer their comedy delivered in larger doses.

For a classic romantic comedy with the same leads and similar themes, try Adam’s Rib. For a more farcical take on the give-and-take of relationships, try How to Murder Your Wife. For a classic comedy set in the newsroom, try His Girl Friday.

7.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for a romantic case study brought to life by two talented leads.