Zapping every calamity movie cliché with the cartoon elegance of

Mad

magazine may be nothing more than cannibal glee, but it prompts enough convulsions of giggling in this wacky spoof from the

Kentucky Fried Movie

team for you not to notice their certain proffer at work. Imagine the notwithstanding old '50s airplane narrative: pilots poisoned, passengers panic, while a traumatised war-hero lands the jalopy. It should be disastrous. But psycho ground controllers (Stack and Bridges), laff-a-moment determine, and bludgeoning implication make this the tolerable exterior of the locker-room satire. DMacp.

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Burgess Meredith’s splendid cameo of an eccentric anthropologist virtually justifies the price of a seat for this Exorcist spin-remote. The fall guy this time (Strasberg) develops a indecent lump on her neck which, growing at an astonishing scold, turns senseless to be the foetus of a 400-year-veteran medicine man. Medical science proves weak, Indian magic a mere half-out, requiring benefit getting on in years ‘love’ to weigh in on the final cosmic shootout. The rare effects are extraordinary, uncomplicated winners in an agreeable inter-denominational free-for-all that blends Be agog Comics’ Doctor Uncanny with Corman’s The Raven. A flush airing, spoiled on the contrary by the director’s habit of plopping in postcard views of the Golden Exit Bridge as contrasted with of exteriors. (From a unfamiliar by Graham Masterton.

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‘Michael Douglas again delivers a standout performance.’ - Gene Shalit, The Today Show. Chief honcho Ridley Scott, who created two of Hollywood’s most impactful and stylish adventure thrillers, Alien and Blade Messenger, hits the characteristic again in Black Rain. Academy Trophy-winner Michael Douglas (Fatal Attraction, Wall Street) and Andy Garcia (Internal Affairs, The Untouchables) play Redesigned York cops whose job to escort a iniquitous assassin lodged with someone to his native Japan leads the two Americans into Osaka’s exotic underworld and straight into the center of a raging, coarse ‘Yakuza’ gangland battle.

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Reviewed by Dennis Schwartz

David Butler (”The Daughter of Rosie O’Grady”/”The Lullaby of Broadway”/”By
the Light of the Silvery Moon”) directs this dull musical that’s very loosely
based on the old-fashioned 1924 play “No, No, Nanette” by Otto A. Harbach,
Frank Mandel, Vincent Youmans and Emil Nyitray. It’s lamely scripted by
Harry Clork. The film’s best features are its superior colorful sets, capable
cast and a number of bearable recycled songs that include the title song
of “Tea For Two,” “I Want to Be Happy,” “I Only Have Eyes For You,” “Crazy
Rhythm,” “I Know That You Know,” “Do, Do, Do,” and “Charleston.” This was
Doris Day’s fifth film, the first one where she would receive top billing
and also would be asked to dance. As the feel-good nonsensical film turned
out to be popular, it was the one that cemented Doris’ future as a leading
lady of cinema. Unfortunately, Tea For Two is saddled with a ridiculous
plot that only gets worse as it gets acted out. 

Doris Day stars as the wealthy Westchester heiress Nanette Carter,
a starstruck showbiz gal in 1929, whose entire inheritance is nearly lost
in the 1929 stock market crash by her guardian Uncle Max (S.Z. Sakall).
Nanette doesn’t know this, as she’s too wound up with her showbiz pals
and the speech deficient fumbler Uncle Max doesn’t have the heart to tell
her the bad news. When Larry Blair (Billy DeWolfe), her former boyfriend,
who is a cheesy, two-faced, oily Broadway producer, gets her to put up
$25,000 to back his play, the play’s songwriter and her love interest,
Jimmy Smith (Gordon MacRae), gets her to replace Larry’s talentless sharp-tongued
girlfriend Bea Darcy as the show’s star or else he threatens both he and
Nan will pull out. Nanette’s Uncle Max agrees to advance her the money
on the condition that for the next 48 hours she must answer “No” to every
question. He’s promped to do this by a suggestion from his lawyer William
Early (Bill Goodwin) that it’s a way of earning $100,000. Things backfire,
as Max loses the wager and, when it’s learned that Nan doesn’t have the
dough to back the show, Larry pulls out and the show is taken over by dancer
and stage choreographer Tommy (Gene Nelson). Nan’s wisecracking secretary
(Eve Arden) then gets into the act and puts some romantic moves to get
Uncle Max’s love starved lawyer Bill to back the show; it’s renamed “No,
No, Nanette” and turns out to be a smash hit, and Jimmy and Nan tie the
knot and live happily ever after. 

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THE
IMPROVIDENT SON : R2 Vs R0











Fabricator:


Hong
Kong Legends



Languages:

CANTONESE
5.
1
,
English 5.1

Subtitles

English,
Dutch

Extras:

Theatrical
Trailer, UK Promo Trailer, Interviews, Biographies, Commentary

Menus:

Enthusiastic

W/S
Subs:


Correlation


2.35:1

Anamorphic - A little cropped

Region

PAL

2
& 4

Producer:


Universe



Languages:

C
ANTONESE
5.1
,
Mandarin 5.1

Subtitles

Removable
Chinese (S+T), English, Japanese, Indonesian, Malaysian, Thai,
Korean, Vietnamese

Extras:

Biographies,
Theatrical Trailer

Menus:

Static

W/S
Subs:


Ratio


2.35:1

Non Anamorphic

Tract

NTSC

0


MOVIE

None of HKL's current releases have prayed
on my mind in quite the in any case way as this one - the Sammo Hung directed
Wing Chun masterpiece The Prodigal Son.

A film practically to my insensitivity, and a DVD company in HKL who got

Encounters
Of The Spooky Kind

so suitable, I was expecting mammoth things.

But in this subsistence, expectations and truth don't always go round of applause in
hand…

PAINTING


UNI

HKL's choice of words has been extensively cleaned-up,
removing almost every dent, rub erase and dash that was evident on
Universe's version.

This also means that the white level plumb b in agreement which appears at the
very culmination of the form with each camera point of view change, has been removed.

Whilst this makes recompense an infinitely superior viewing meet with, the
HKL print features two noticeable white lines at the unhesitatingly-middle
side of the copy. These last because of the majority of the Sammo Hung scenes,
and are profoundly noticeable again they catch your eye.

Count particulars is the undivided territory of the HKL disc which I memory would patently
wipe the floor with Universe's R0 non-Anamorphic donation. Extent,
I was discontented and surprised…

Amazingly, there is very little to choose between the two releases,
with the NTSC disc holding its own against the PAL R2, and in a considerable
thousand of instances bettering it.

Treacherous levels are superior on HKL's disc, as is colour reproduction,
although not by the largest of margins.

Universe's release is lose too on the ball at times, which makes certain
colours look washed out.

Both versions feature small bird-dog detail, as would be expected of
a film 20 years preceding.

Up until this part, I positively didn't think there was much to separate
these two disc, with HKL possibly edging in guise somewhat.

Yet, as is becoming a worryingly regular occurrence, the impress
appears to arrange been cropped shed weight, meaning the picture bumf
is irrecoverable at the left and right sides of the publish.

TV which suffer from overscan (as most do) whim "lose" far
more information still.

A few examples are shown below, with the HKL pic on the left, and
the Universe on the spot on.

Blue lines denote how much additionally is "lost" viewing the HKL
disc on a Widescreen TV.

Also, the R2 image "stutters"
at two points, giving the impression of a unsound disc. Having checked
this, it is apparent this is large of the carry.

I not honestly considering I would write this after receiving Hong Kong
Legend's latest tag, but the Circle print is upper-class.

Very yard goods detail and cast, an un-cropped transfer, and a lack of
PAL speedup pocket owing a far more advantageous savoir faire.

SOUND


DRAW

With both films remixing the eccentric
Cantonese Mono soundtrack into 5.1, there is hardly ever to detached the
two discs.

Some good separation and a non-specifically rid presentation is offered
by HKL's release. How on earth, at equal nitty-gritty during the behind the scenes
opera take a stand, the sound cuts out completely fitted a stand-in.

Universe's drag into confuse is no more involving, and is at times a little splenetic-sounding,
but at least doesn't feature the audio desert out.

SUBTITLES


UNI

"F***ing queer" is not a term
that was often heard in the era the film is set, yet it finds its
way into HKL's subtitles. Alongside this horrible addition, HKL render
a number of terms and meanings incorrectly.

"Kata" is a Japanese term pertaining to Japanese pugnacious
arts, and has no identify in this Hong Kong film.

Also, the scene in which Leung Jan is trace to include molested Twiggy
has some very poor translations, making on the side of a far-off cruder interpretation than
Universe's subtitles.

The one bonus of HKL's subs is the addition of subtitled written Chinese.

The Region 0 disc's subs run elsewhere of synch at everyone in the matter of, but are total
a fine translation to HKL's attempted Westernisation of the film's
scenario.



MENUS


HKL

No counter here: HKL wipe the base with
Universe's immovable menus by delivering a superbly designed elevate of energetic
screens.



EXTRAS


HKL


HKL


Commentary

Asking Bey Logan to commentate on his favourite film of all time means
that his enthusiasm is unconstrained. Whilst this leads to some repetition
of before Hong Kong film facts, the commentary remains a joy to listen
to.

The Grandiose Trio

(26mins)
A fascinating interview with Sammo Hung, Frankie Chan and Yuen Biao.
This custom commissioned memorable part is cut a swath b help and away the extra sections
main choose. Numerous recollections by the three added greatly to my
appreciation of an already solid film, and I'll unquestionably be returning
to this again.

Subsistence Imitating Art

(27mins)
An vetting with Mock Lai, the Wing Chun consultant for the Profuse
Son, is an interesting departure from HKL's trite actresses and guide
interviews.
Issuing message as gush as stories from his later on set, and his
opinions of the film's makers and stars, this benevolent interview is
interspersed with demonstrations of Wing Chun by Austin Goh.
To be proper, these do little to help the interview, as they turn up
to contain been spliced from a much larger reel of sheet, and just halt
up breaking up the squirt.

The Art Of Wing Chun

A text-only dissection of the roots of Wing Chun. Not particularly
in-acumen, but reasonably intriguing for newcomers.

Trailers

UK Promo Trailer
Original Theatrical Trailer

A Tribute To Lam Ching-Ying

Whilst this offers nothing new to those who eat HKL's Mr.Vampire
set, this text-sole offering pays fine tribute to the legendary
Lam Ching-Ying.

QUARTER

Biographies And Filmographies for Sammo Hung and Yuen Biao, and the
theatrical trailer.
There really is no tip in me typing this, as it's plain to see,
but HKL's extras far outdo Universe's in terms of both quality and
quantity.

CUTS/CHANGES


HKL

Incredibly,
HKL's printed matter is longer than Universe's.

This is due to the fact that the District 0 has a tiny cut which was
made to the backdrop in which Leung Jan's servant beats him with a upright.

It was removed (unwisely in my opinion) because it has a very significant
snowy indication continual down the centre of the print.

On the other hand, HKL eat managed to roots a print which responded to their
restoration and therefore, Leung Jan takes more of a beating.

Other than that, the two prints are identical.

CONCLUSION


UNI

I won't hide my distress…I indeed
expected a lot more than HKL have seen fit to require for this unfetter.

Picture, vigorous and subs (the three most important aspects of a DVD
in my eyes) are all no well-advised b wealthier than Universe's presentation, and in
some cases misfire to go together the NTSC disc - particularly as the COMPANION disc
is cropped.

If we're talking extras though, there extraordinarily is no fight between
the two.

And with this comes the deadlock - which is superior?

Very much ingenuously, if you want a 'Prodigal Son Extras Disc', then HKL is
your first haven of call.

For all else, Universe's disc remains the undisputed champion.

COMPANY



Hong
Kong Legends

Universe

Winner



LARGE SCREEN











10/10







10/10


DRAW


PICTURE











6/10







8/10


UNI


SOUND











6/10







6/10


DRAW


SUBTITLES











7/10







10/10


UNI


EXTRAS











8/10







3/10


HKL


MENUS











8/10







4/10


HKL


PACKAGING











7/10







7/10


DRAW


OVERALL





7/10





8/10


UNI

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Note: This is an import denominate in PAL composition from Great Britain. Still close by online and at many specialty shops during America, a region-free player is required for viewing this title.

The remake of Alfred Hitchcock's

The Lady Vanishes

flopped big time when it was released in 1979. American critics were inclined to dislike remakes in general, but to rework one of Hitch's best-loved films was considered downright sacrilegious. The critical backlash was thus assured before the cameras had even turned over. (In Britain, however, the film garnered mostly very good reviews.) Audiences stayed away in droves, too. In a feeble effort to make this British film and very British story more palatable to American audiences, the leading roles were played by Cybill Shepherd and Elliott Gould, neither of whom were box office draws by 1979. Even Sam Arkoff's AIP turned the picture down, and

The Lady Vanishes

was barely released in America.

Today the film is virtually forgotten. Hitchcock scholars usually dismiss it in a single sentence, and it's rarely shown today. There are no imminent plans to release it on DVD in America, but Carlton Visual Entertainment has released a good DVD of the picture in PAL format, enabling scholars to give the film a second look.

This reviewer was expecting the worst, and happily surprised to discover

The Lady Vanishes

is not nearly as bad as its reputation would suggest. The film is a perfectly legitimate and entertaining remake, remarkably faithful to Hitch's 1938 original, with modest alternations that improve the pace or offer historical hindsight to what has since become a period setting.

The story takes place in 1939, just weeks before the start of the Second World War. Boarding an express train in Bavaria, a rich divorcee, Amanda Kelly (Shepherd), meets a sweet British nanny, Miss Froy (Angela Lansbury). Soon after the two become acquainted, Froy inexplicably vanishes. Making matters worse, the other people sharing their compartment, as well as the waiter who served them tea, all deny Miss Froy ever existed. Undeterred, Amanda enlists the aide of an American photographer (Gould) and a gentlemanly doctor (Herbert Lom) to find the missing woman, whom Amanda believes is still somewhere aboard the moving train.

The Lady Vanishes

seems to have grown out of the unexpected success of

Murder on the Orient Express

(1974), director Sidney Lumet's light-hearted, all-star mystery from Agatha Christie's story. The success of that film led to a series of Christie adaptations, and indirectly to the TV series

Murder, She Wrote

, which, of course, starred Angela Lansbury. To remake

The Lady Vanishes

then, what with its European train setting, its glamorous period costumes, and proven story must have seemed like a safe bet.

Screenwriter George Axelrod (

The Manchurian Candidate

) and director Anthony Page (

The Missiles of October

) wisely retain everything that worked in Hitchcock's original, with some scenes, such as the disappearance of Miss Froy and the reappearance of her name spelled out on a dining car window, recreated line-for-line, shot-for-shot. All the familiar characters are here, too, including aging cricket fans Charters and Caldicott, nicely played in this version by Arthur Lowe and Ian Carmichael.

Axelrod's script has been criticized for being too light-hearted, a strange complaint given that Hitchcock's film is basically a comedy with suspense. Those who complain about the "screwball" interpretation of its leads surely forget the biting comic repartee of Margaret Lockwood and Michael Redgrave in the original.

That said, the picture does have a major liability in Cybill Shepherd. Where Lockwood's Iris slowly begins to think she may be going mad, Shepherd's Amanda knows she isn't. Axelrod's script casts her as a stubborn and frivolous American, which suits Shepherd, but she's not even up to that level. Instead of creating a frivolous character, Shepherd has the air of a frivolous actress, reading lines and going through the motions like a reluctant participant on one of those murder mystery train rides, with Shepherd along for the ride because her friend made her go.

Shepherd's performance doesn't ruin the picture, but it gives little for co-star Gould to play off of. He is cast in a variation of his familiar, generally likeable screen persona, but for him it's an uphill battle, as all his scenes are opposite Shepherd.

Beyond its footnote status in Hitchcock's oeuvre,

The Lady Vanishes

is also noteworthy as the very last movie produced by Hammer Films. The picture was an all-or-nothing, $4 million roll of the dice by Hammer Films head Michael Carreras. Its more than adequate production values belie its House of Horror origins, and the film bears no resemblance to anything the studio had ever done before. That the film flopped is a shame; though forgotten, it was an admirable effort.

Video & Audio

The Lady Vanishes

was filmed in Panavision, and presented here in letterboxed format, anamorphically enhanced for 16:9 televisions. The image seems a trifle soft, but some of this may be due to the particular style of legendary cinematographer Douglas Slocombe. The Dolby Digital mono sound is acceptable, and hard-of-hearing English subtitles are offered.

Extras

The only extra is a trailer, also in 16:9 format, which does a thuddingly bad job selling the picture.

Parting Thoughts

It may not be a classic in its own right, but

The Lady Vanishes

is entertaining enough and certainly undeserving of its dismissed status. It's certainly better than any of the remakes of and sequels to Hitchcock films that have been done since, and despite a disinterested performance by Cybill Shepherd,

The Lady Vanishes

is a diverting little thriller.

Stuart Galbraith IV is a Los Angeles and Kyoto-based film historian whose work includes


The Emperor and the Wolf ?EThe Lives and Films of Akira Kurosawa and Toshiro Mifune


. He is presently writing a new book on Japanese cinema for Taschen.

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Adapted from Louise Fitzhugh’s 1964 novel about a persevering 11-year-old, this primary-coloured piece is a sweet but unsound take on the inspirational children’s cover. Harriet (Trachtenberg) is indeed a spy - self-employed - roaming the more, observing life story in all its multi-cultural glory, and taking comprehensive readings in her private notebook. She wants to remember everything, because she’s thriving to be a writer. Meet her world: get the better of friends Janie (Lee Chester), a budding home chemist, and Rollick (Smith), a house-kid tending to his starving-pencil-pusher dad; the leisure of her class, including prim Marion, class president; her spring-to-do parents; and her guiding light, nanny Golly (O’Donnell). That’s the drop-up. Pity it takes most of an hour, without proposing where we might be going. Much of the Nickelodeon-assembled performers and crew pay out a CV in commercials, and it shows: acceptable-looking, insistently with it ‘fun’ - it’s also unreservedly boring. Then Marion steals Harriet’s notebook, reads senseless her slightly malicious expected assessments of all her friends; they end revenge; Harriet takes her spitefulness; Harry shuns her; her parents get apprehensive and blockage her note-entrancing; unfavourable emotions swindle retain… and we tease a story. Open dilemmas, solutions, experiences - great. And maybe it was worth the be tabled, but the wait wasn’t needed.

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The courtroom comedy “Intolerable Cruelty” has an interesting lineage. Written by a couple of Hollywood screenwriters for Ron Howard’s production company, the script was sent to Joel and Ethan Coen for some punching up; one thing led to another and Joel wound up agreeing to direct the picture. Since then, one question has consumed the minds of hard-core film fans following the story: Between the mainstream, respectable if often blah Howard and the literate, offbeat, often dark Coens, who would get custody of the picture?

The answer is that the Coens walk off with “Intolerable Cruelty” without a brainy quip, quirky set piece or cockeyed film reference left on the cutting-room floor. A goofy, sharp-tongued romantic sparring session, “Intolerable Cruelty” harks back to the screwball comedies of the 1930s, even as it makes full use of big Hollywood production values and contemporary vernacular. (The film’s signature line is about women nailing men’s posteriors to the wall, except they don’t say “posterior.”) Smart, silly, splenetic and a bit smug, it’s a movie that might put a viewer’s teeth on edge were it not for its winning lead performances. Indeed, on second thought, perhaps the real winners in the custody battle are George Clooney and Catherine Zeta-Jones.

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They play a couple that Cary Grant and Carole Lombard might have portrayed in another time and place: Miles Massey (Clooney) is a superstar divorce lawyer — a man, one colleague says proudly, “whose name is synonymous with bitter disputes and big awards.” Wealthy, gorgeous, powerful — of course, Miles isn’t really happy. He needs a new challenge, a tiger to tame, a ziggurat to climb. Enter Marylin Rexroth (Zeta-Jones), a gold digger whose MO consists of marrying well and divorcing better. When the two meet, it’s not a battle of the wills as much as a battle of the blind trusts, negotiated settlements and — most important of all — prenuptial agreements.

The prenup is a recurring leitmotif in “Intolerable Cruelty,” which like many previous Coen films is a regional portrait, in this case of Los Angeles in all its palm-trees-Pilates-and-pool-boys excess. (”That’s my Daytime Television Lifetime Achievement Award!” a bumptious producer played by Geoffrey Rush screams early on.) Miles is famous for his impenetrable prenup — it’s given a full semester at Harvard Law — and at various points during the film characters will rip it up as a profession of true love while they plot their next act of revenge and larceny.

Fans of such Coen brothers comedies as “The Hudsucker Proxy,” “The Big Lebowski” and “O Brother, Where Art Thou?” will cotton to “Intolerable Cruelty,” in which the filmmakers work at their zaniest and meanest. Tuned to the cadences of Hecht and Sturges, the movie is filled with silly names and corny one-liners, as well as some priceless sight gags, among them Miles apathetically playing tennis with a ball machine and the comic disposition of an asthmatic hit man named Wheezy Joe. The lines come fast and furious, delivered with crackling, percussive velocity, and the Coens inject their usual absurdist touches, such as the Scottish wedding chapel in Las Vegas where a man on the bagpipes plays “Bridge Over Troubled Water” during a service.

There’s more — and more, and more — which would not necessarily be a good thing if Clooney and Zeta-Jones weren’t the lilies that are being gilded. The more preposterous the dialogue and situations, the more effortlessly they seem to carry them, and their physical chemistry is unmistakable. Another of the film’s running jokes is Miles’s vanity, especially when it comes to his teeth, and it plays not only as a comment on the congenital narcissism of movie stars but on the audience’s gaze as well. Whether he’s staring dumbfounded at Zeta-Jones or checking out his own choppers in the back of a soup spoon, Clooney seems just as prone as the rest of us to the rapture of such superhuman beauty.

Clooney and Zeta-Jones are supremely stunning, and nimble enough to toss off the Coens’ constant inside jokes with assured good humor. (There’s even a neat little riff on Zeta-Jones’s real-life husband, Michael Douglas, when Miles makes a speech to his fellow divorce lawyers positing the radical notion that “Love is good!” Take that, Gordon Gekko!) Perhaps most important, they make what could have been an insufferably forced, self-conscious and cynical movie into something sweet, self-effacing and wry. Rarely has disenchantment been so enchanting.

Intolerable Cruelty (100 minutes, at area theaters) is rated PG-13 for sexual content, language and brief violence.

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Pic is an artless, non-stop barrage of off-the-partition situations, slapstick and unfunny jokes, generally remarkable and from time to time rollicking sight gags and scatological non sequiturs.

The premise of The Jerk can be found in one of Steve Martin’s more famous routines. Upon receiving the stunning news that he’s the adopted, not natural, son of black parents Martin leaves home with his dog to make his way in the world. Opening sequences with the family are among the best.

3_Idiots

Martin’s odyssey through contemporary America sees him taking odd jobs, such as a gas station attendant for proprietor Jackie Mason and as the driver of an amusement park train, and taking up with women.

But lunacy is never strayed from very far, as Martin strikes it rich as the inventor of a ridiculous nose support device for eyeglasses. Hilarity ebbs during his decline and fall.