Stylistically, the film is all in small talk, too -- those television-perfected moments of everyday life that evoke recognition, rather than curiosity, about human behavior. Not only does it move along at a faster clip than many a higher-budget film, but it's done without a lot of gore -- no small feat in a martial-arts movie. [10 June 1980, p.B2]. [12 Nov 1981, p.C17]. As nervy and well-made as it is, Cherry feels less personal than pageant-like, especially in a rushed and glibly perfunctory final sequence. Martin Scorsese's obsession with a dubious mystique of masculinity turns Raging Bull into a ponderous work of metaphysical cinematic bull. If he doesn't, he's likely to be remembered not for his undeniable pictorial talent but for his eccentricity. A powerful period setting might have taken up the slack, but Lynch doesn't impose the past as vividly as the theme demands. [03 Aug 1978, p.B6]. Is "The Last Waltz" the greatest rock movie of all time? Book II revives that excruciating game of false piety in which Hollywood humorists grovel for brownie points in eternity by presuming to be God's chummiest press agents. Except for one grisly, chilling scene too horrible to describe, this one was an unintentionally funny stroll. Not all that long ago he and Quinn were associated on the prestigious hit The Guns of Navarone. Death on the Nile compounds this vulgarity by visualizing almost every speculation Poirot entertains about his fellow passengers. of Western Civilization is a bracing primer to just about anything one might want to know about the hard-core punk scene. The transcendant thing about Erving is that he's capable of performing feats in competition and in real time that the rest of us only dream of doing while playing one-on-none. Comparatively speaking, he seems less bloodthirsty than the directors of Friday the 13th, The Exterminator or Mother's Day, to name only a few competitors of grosser gruesomeness. Washington Post writer Michael Thomson writes a negative review for Uncharted 4: A Thief's End, resulting in a fan petition demanding it be removed from MetaCritic.. Uncharted 4: … You can't help wondering what they, along with Mason and Neal, talked about between the takes of this howler. It's a dear and corny story, played with lovable grubbiness by Sally Field and Ron Leibman. [18 Mar 1981, p.B4]. The occasional use of real people on old film is jarring. Also: though the review was published score-less, when it popped up on Metacritic it somehow had been magically awarded a 4/10. Too frequently and too loudly, the sci-fi bells and whistles of Chaos Walking overwhelm its quieter, more engrossing elements, making it hard to hear what the film really seems to be saying. It's an artfully old-fashioned morale booster celebrating comeback kids: apparent losers, outcasts and hard-luck cases who manage to pull themselves together, buck the odds and reaffirm their pride, dignity and masculinity. When he's not clowning around he takes time to befriend a homesick 12-year-old camper (Christopher Makepeace), thus displaying a streak of responsibility that would curl John Belushi's hair. [19 Dec 1980, p.23], An inspired comedy title, Stir Crazy blends several inventive, high-spirited performing talents into a tangy, cheerful entertainment. Low-key sentiment sets the stage for the new, improved Clint Eastwood -- relaxed, funny and refreshingly human. The music is highly enjoyable -- though perhaps more so once one gets the record album home and isn't bothered with the story -- and the film so unerringly airy that it has a beneficent, tranquilizing, bemusing effect. Metacritic score: 69 It's a little like watching Hsing-hsing and Ling-ling attempting to mate, to see John Travolta and Debra Winger, as the simple couple in Urban Cowboy, spend over two hours trying to find a modus vivendi in a mobile home. The result is a film that will appeal equally to the furious and the curious, assuming that both enter the arena with an open mind. [24 Mar 1978, p.D1], The finished film has no thematic or emotional integrity. [18 Apr 1981, p.D3]. [26 Dec 1981, p.D5], What this ill-fated journey is all about are never rationally explained, but then it seems most of the little thought in Galaxy of Terror was put into the special defects, which include a crewmember whose head and tummy snap, crackle and pop; an arm that gets cut off and still manages to spite itself; and a tiny worm that grows and rapes a comely crew member to death. There are corners of this quiet little film — less a plot-driven narrative than a two-person character study — that feel powerfully true, in ways that surprise. This time they have. [28 Apr 1978, p.19], Malle's most forcefull dramatic element is the feeling of rivalry and resentment that exists between mother and child without the characters being conscious of it. Dressed to Kill is a witty blend of suspense and humor, a skillful manipulation of basic nightmare ingredients that leaves one limp, amused and always impressed. Apparently, through a process of complex algorithms, the reviewer's words were able to be distilled into an accurate and definitive numerical grade. If the rabbi's odyssey was embryonically appealing, the filmmakers have nurtured it along pact from an elephant trying to hatch a robbin's egg. This is a film with brittle dialogue, complicated acting and visual subtlety in the service of a trite and unworkable story. [27 June 1981, p.C1], The thrust of the film is to escalate the Superman idea to the point where the charm is no longer visible. A hand-up is what you get from your friends"). [20 Nov 1981, p.C3], The infuriatingly slow pace proves a point, but it makes for a gritty-eyed viewer with mashed potatoes for brains...It's a relief to escape the theater after this one, though it's good for several hours of discussion over dinner. This cinematic triple-decker sandwich is so overstuffed with baloney and cheese it ought to come with a pickle on the side. Viggo Mortensen makes a sensitive and assured directing debut with Falling, a meditation on aging, mortality and slow-drip loss that will resonate deeply with anyone going through the agonies it depicts. [19 Dec 1980, p.19]. Free (& Subscription) Games for All Platforms: New & Upcoming, 22 Most-Anticipated TV Shows & Movies to Watch at Home in April, Music title data, credits, and images provided by, Movie title data, credits, and poster art provided by. [17 Oct 1980, p.C1], If Kagemusha falls short dramatically, and many admirers may not share that impression, the sag occurs at an awesome level of filmmaking prowess. Their failure to "make one like they used to" incurs a double liability: In addition to wasting resources and disappointing expectations, Seems Like Old Times -- now at area theaters -- appears to trifle with an older and better movie. [19 Oct 1979, p.B6], The Black Stallion is one of the few movies that justifies the word "sublime." [08 Nov 1978, p.C1]. no, probably . One of the big things in the gaming world this week is the release of Uncharted 4. But Robin Williams so utterly captures the Popeye idea as to justify this, and Shelley Duvall is such a perfect Olive Oyl that it will always be difficult to imagine her impersonating a human being. There are times when French Exit beggars belief and tries the viewer’s patience. With the Dunne-Didion lines and the acting of Robert DeNiro (the priest) and Robert Duvall (the detective), the lack of a cohesive story doesn't seem terribly important. If you ever entertained any fantasies about America's autumnal rite's being good clean fun, this movie should set you straight...At the same time, North Dallas Forty is terrifically funny, done with enough humor and wit to offset any potential heavyhandedness -- a Burt Reynolds movie with bite. The rickety foundation might be finessed by swift, dynamic direction -- the sort of approach William Friedkin brought to The French Connection or Walter Hill to The Warriors, an urban thriller Shaber also helped fabricate -- but newcomer Bruce Malmuth isn't agile enough. [19 Jun 1981, p.19], Content to pick up where the skid marks from "Smokey and the Bandit II" left off, The Cannonball Run quickly establishes itself as an aggressive shambles, the latest exercise in amateurism from facetious professionals. The oddity of this romance and its picturesque setting do a great deal to lend interest to an otherwise minimal (for a spy picture) story. “The Last of Us Part II” is a demonstration of how a video game can marry heart-stopping gameplay, gorgeous environmental storytelling and anxiety-inducing moral complexity. . Caddyshack is hanging evidence that Ramis wasn't prepared for the assignment or clever enough to fake it...Ramis proves unable to sustain a single frayed thread of plot continuity, and none of the prominent cast members -- Chevy Chase, Murray, Rodney Dangerfield and Ted Knight -- enjoys opportunities decisive enough or direction competent enough to generate a little comic momentum and help prevent the gratuitous material from falling in a stinky, dismembered heap. [29 June 1979, p.C1], Murray, though, is wonderful. But Fame goes deeper, into the quintessential problem of youth -- the painful process by which the society's accumulated culture is passed from one generation to the next [20 June 1980, p.17], Humanoids is a clever combination of Jaws and Alien. It's an achievement particularly noteworthy in contrast to the Grade-Z "horror" movies that have been cluttering up the screens lately. Belushi also controls a wicked array of conspiratorial expressions with the audience. The excerpts from old movies are far more vivid and evocative than the host attraction. [05 Aug 1978, p.H1], Steve Rash directs the firm in a clean, observant and confidently transparent style - making an impressive debut after several years of TV pop-music specials - and demonstrates a flair for expressing Holly's appeal. It is the most-widely circulated newspaper within the Washington metropolitan area, and has a large national audience. Reason against discipline is always funny -- hero to sergeant: "I know I'm speaking for the entire platoon when I say that the run should be postponed until the platoon is better rested" -- but the kicker, that there really is a reason for the discipline, is necessary to the premise. Whether it be the quality of the review, the actual score given to the review, or the reviewer themselves, there's always something that comes up in their discussion. Director Robert Zemeckis has created a hodgepodge of amateurish, pie-in-the-face humor. That impression proves premature. [22 May 1981, p.17], The conventions that worked for High Noon break down in the high-tech atmosphere of Outland and the story seems trite and dinky. [6 Oct 1978, p.19], Days of Heaven leaves one wanting more: either a totally revolutionary approach to pictorial storytelling or traditional dramatic interest....It may be artistic suicide for Malick to continue his style of pictorial inflation without also enriching his scenarios. [24 Nov 1980, p.B11]. It should also prove a great incentive for dining out and shooting the bull in general. [8 Aug 1981, p.C10], Although it frequently misfires and occasionally keeps firing away on empty satiric chambers, Student Bodies is a likably sarcastic and knowing assault on the cliche's of horror movies. [31 July 1978, p.B1]. And he can seem irresistibly funny in repose or invest minor slapstick opportunities with a streak of genius. For anyone with a taste for the stylized violence and self-aware cartoonishness of the John Wick films — a taste for blood and mayhem that comes closer to corn syrup than most cinematic carnage — Nobody is a brutal treat. Such a half-baked, arbitrary update that the decrepit plot seems to arise from the misty region of a kind of Jewish Brigadoon in contemporary Manhattan, a Ghetto That Time Forgot. Although it shatters all over the screen, this would-be topical satire may strike enough chords among rabble-rousing yahoos to become a hit of sorts. Parker has upset the book's delicate sense of balance. [28 June 1978, p.E1], Peckinpah is a filmmaking heavyweight, but in Convoy all he's doing is fighting off the boredom and frustration that grow out of coping with stupid material. On the plus side, Allen's basic movie-making skills are sound. . The fragile satric fable seemed to defy adaptation. The best reason to see The Rose is to be in a position to relish the inevitable parody on "Saturday Night Live." An idiot could follow the story line and two hours could go by without many glimpses at the wristwatch. Instead it's been allowed to abort on the screen. The Blues Brothers offers the melancholy spectacle of them sinking deeper and deeper into a comic grave. Pop a couple of Stress-Tabs before you go. . [02 Oct 1981, p.C1], An intimate theater piece conceived for the movies, My Dinner With Andre illustrates how much human interest, entertainment value and even philosophical inquiry can be derived from a situation as static as a dinner conversation. Each new attempt to revive the Western seems to plunge the patient into a deeper coma. Moses has staged one totally abstract, contemplative sequence of Erving practicing by himself on a playground court at night. This includes more than 0,000,000 people who have been fully … Read what Washington Post had to say at Metacritic.com - Page 341. search... Games Notable Video Game Releases: New and Upcoming See All Reports. The question is, do a few moments of satire justify an hour and a half of naked ladies, car stunts and chase scenes? [16 Oct 1981, p.B1], Whatever is wrong with the plot, there's nothing wrong with the dialogue. [17 July 1981, p.B1], And the person who seems least convinced of the validity of the passion is Brooke Shields, who looks ravishing but is most charming when she's childishly affectionate or aloof -- thus blithely making her partner, with his burning eyes, look demented. [05 Dec 1980, p.F1], Possibly . And pity the poor actors -- George Kennedy, Richard Crenna, Nick Mancuso, Sally Ann Howes; it's the TV-jeebies. [17 Apr 1981, p.19], It's the most exaggerated example yet of the abiding imbalance in modernist filmmaking, where an abundance of texture fails to conceal a minimum of substance, although it frequently makes the act of concealment pictorially exciting. These unfortunate innovations aside, the film, directed by Ivan Reitman, has moments when the old army joke is done well. But since that piece, Metacritic has introduced a Progress and Unscored Reviews sections. Midnight Express sets a new standard in shamelessness. Flawed and uneven, but vigorous and imaginative, The Stunt Man is a brash, whirlwind action comedy about the paranoid uncertainties of a fugitive who takes refuge with a movie company on location. [26 May 1978, p.20], F.I.S.T. Good and promising actors -- people who deserve a better film the next time -- are too numerous to name. [23 May 1981, p.C6], Sounds hard to mess up, but Death Hunt is so unconvincing that you never once stop asking yourself, "Why is this manhunt necessary?" Edwards and his collaborators have wisely chosen to give an audience just what it wants and expects from a Pink Panther film - riotous slapstick, spectacular stunts and Sellers in a variety of accents and disguises that give him free reign and lead to inevitable uproariousness. © 2021 METACRITIC, A RED VENTURES COMPANY. . The nice thing about Nice Dreams is that, if you can live with a little raunchiness, it's fun, and it's funnier than C&C's "Next Movie," their second movie after "Up in Smoke": the humor doesn't rely so completely on old jokes about the drug culture. In its own elegant, confounding, chimerical and compassionate way, it’s a lot like life. [16 June 1978, p.18], If a movie can be said to snore before your eyes, Damien sustains an ungodly, unstimulating buzz. [10 Apr 1979, p.B3]. . Unfortunately, all too many paying customers will remember being suckered into the Derek remake of "Tarzan," which shortchanges every feature susceptible moviegoers must assume they'll find: tongue-in-cheek romance, exotic high adventure and generous scrutiny of Bo in the buff. The Villain is the sort of dumb comedy that never smartens up. Martin, an eerie, sardonic updating of the traditional vampire legend, should secure Romero's reputation as a modern master of the horror film. Cheech and Chong are bawdy, they're unself-consciously irreverent, and if any idiocy can happen, it will happen to them. [11 Aug 1980, P.B3]. Despite a lull here and a lapse there, this superproduction turns out to be prodigiously inventive and enjoyable, doubly blessed by sophisticated illusionists behind the cameras and a brilliant new stellar personality in front of the cameras -- Christopher Reeve. It slogs on for about two reels too many, concluding on a note of utterly contrived tragedy that should make just about everyone feel wretchedly deceived. [15 Apr 1978, p.C9]. [19 Oct 1979, p.31], Despite the artificial ending, The Great Santini is a powerfully written and acted movie. [7 Aug 1981, p.C1], The new film, a fitfully amusing and perfectly harmless spoof of the morbid and masochistic cliches that sustain the typical soap opera, represents a mellow, spruced-up turn toward the mainstream. But despite its shortcomings, director Hal Ashby managed to transplant the undernourished narrative with remarkable success. [16 March 1979, p.18], Schrader's second feature, Hardcore, is more confidently made than his first, Blue Collar, but it slips into a similar category: absorbing but unsatisfying. More fun than a saloon full of six-shooters. [25 May 1979, p.39]. never approaches the comic heights achieved unwittingly by "Airport '75" and the peerless "Concorde -- Airport 1979." The review does not have a score listed on the Washington Post page, and yet, a score does appear on Metacritic. The accompanying adult had better be prepared to explain not sex, but "Do as we say, don't do as we show. But he packs the middle with drawn-out dialogue and mindless series of chases and escapes that do little more tan pad the feature film into feature length. That's what most of this movie consists of. [16 March 1979, p.19]. One scene in Central Park, when Pacino confronts the murder suspect on a deserted rain-slicked path, is haunting and beautfully photographed. Read what Washington Post had to say at Metacritic.com. The Washington Post published a real review in their technology section, which reviews videogames from a legitimate perspective all the time, and THAT reviewer gave the game a *GLOWING* review. [11 Aug 1981, p.C10], In a light-hearted way, it portrays the Allies as children, their leaders as collaborators, a Nazi POW camp as boys' summer camp and the conflict as color war. Diverting, polished chase thriller. Even after the story threatens to self-destruct, you fight the impulse to suffer a major letdown, for the sake of the swell nerve-racking time you've been having up to that point. However, one of the biggest news is involving The Washington Post who gave the game a 4 out of 10. Part of the problem is a blah role: Steve is not a protagonist of many words, or even many revealing looks. [25 Dec 1979, C1], The perceptive dramatic touches of Fonda and Redford take the stereotypical edge off the stock characters of "cowboy" and "career girl." It's pretty good. [21 Dec 1979, p.32], Despite its obviously derivative elements and lack of flair in certain areas, notably writing and casting, the movie is at worst an entertaining redundancy, a brisk and diverting pastiche of familiar science-fiction adventure hokum. The justice of the cause, the abilities of the actresses, the intrinsic interest of the scene -- these are all lost in the frantic efforts to cram in satire, social commentary, slapstick and sexual oppression. It's the contrast between the brothers that's the point. Like the Dustin Hoffman film Straight Time, Schrader's picture sustains a certain interest despite its faults. Ironically, the stars didn't get it together either. Starting Over finds Reynolds at a level of proficiency that approaches the awesome. The director of "Lolita," "Dr. Strangelove" and "Clockwork Orange" is simply working with less interesting material: The Shining is a slender, barely believable tale being asked to carry a lot of style and weight. But there are still enough bodies smashed - automotive and human - to keep his followers happy. [31 March 1978, p.15]. There is such a thing as working too hard. It stars Tim Conway and Don Knotts, who are not exercising their legitimate comic talents beyond one expression each: Conway crosses his eyes, and Knotts makes his eyeballs disappear upwards. A stunning successor, a tense and pictorially dazzling science-fiction chase melodrama that sustains two hours of elaborate adventure while sneaking up on you emotionally. [19 Aug 1981, p.C1], Although he brings a certain muscular prowess to the screen, Norris is grievously deficient of charm and humor. There are only so many ways to photograph black starry space and the under-bellies of spaceships, and the films that got there first used them all up. search... Games Notable Video Game Releases: New and Upcoming See All Reports. [19 July 1978, p.E1]. It's as if kiddies' mindless escape films, unlike adults', needed to carry their own internal justification. [26 June 1981, p.17], As a movie concept, Dragonslayer seems to have so much going for it that it could scarcely miss. The Art of Starting Over, Sufficiently attractive and absorbing to sustain the fond delusion that Charles' pursuit of the mystifying Sarah might culminate in a revealing, conclusive confrontation. [8 Feb 1980, p.20], Going in Style is cautiously conceived, but it also projects a sincere human interest and reveals a command of intimate, subtle dramatization that is likely to prove Brest's artistic and commercial fortune sooner or later. [3 July 1981, p.19]. Ironically, this tale of a shadow warrior is diminished only by the length and intensity of the artistic shadow thrown by Kurosawa in his prime. Witty as they sometimes are, Romero's ironies aren't subtle or devastating enough to justify lengthy comtemplation. The Father, ultimately, is a paradox: as nuanced as it is bluntly direct, as tough as it is tender. It’s a good movie, executed with affectionate humor, wistful honesty and tender care.
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