Explore
 Lists  Reviews  Images  Update feed
Categories
MoviesTV ShowsMusicBooksGamesDVDs/Blu-RayPeopleArt & DesignPlacesWeb TV & PodcastsToys & CollectiblesComic Book SeriesBeautyAnimals   View more categories »
Listal logo
Avatar

JxSxPx

Add JxSxPx as a friend


JxSxPx will be notified and will have to accept this friendship request, to view updates from JxSxPx and their ratings you must follow them.


Remove JxSxPx as a friend


Follow JxSxPx

Follow content (Lists, pictures, videos, reviews & votes)

Track ratings in these areas:
Movies Music
TV shows Books
DVDs Games

About me

I'm Jason. I'm a film, literary and pop culture enthusiast. Got a soft spot and deep love for animation, comics and nerdy things that go in tandem with them.

Lists

1 votes
100 Greatest American Albums of All Time (100 items)
Music list by JxSxPx
Published 4 days, 19 hours ago
33 votes
MOJO's Icons (100 items)
Person list by JxSxPx
Published 8 years, 11 months ago 1 comment
2 votes
VH1's 100 Greatest Women in Rock & Roll (100 items)
Person list by JxSxPx
Published 1 month ago
1 votes
Favorite Albums - Almost Made It (17 items)
Music list by JxSxPx
Last updated 3 months ago
3 votes
The 25 Best Films of the 21st Century So Far (25 items)
Movie list by JxSxPx
Published 3 months, 2 weeks ago



Recent reviews

All reviews - Movies (940) - TV Shows (89) - Books (2) - Music (124)

A Christmas Gift for You from Phil Spector

Posted : 3 weeks ago on 26 December 2017 06:29 (A review of A Christmas Gift For You From Phil Spector)

A Christmas Gift for You from Phil Spector is the sound of the super-producer taking his trademark “Wall of Sound” style and smashing beloved Christmas carols into it. “Winter Wonderland” and “White Christmas” now have more in common with “Da Doo Ron Ron” and “He’s a Rebel” than they do the traditional yuletide aesthetic. Spector brings his best talent to provide the center for all of this ornamentation (ha!), and what emerges is not only the greatest holiday album ever recorded, but also one of the all-time greatest pop albums.

 

Nostalgia permeates the songs here, and Spector’s trademark operatic tendencies and grandeur only underscore these traits. Whether it is LaLa Brooks’ teenaged vocals adding a childlike glee to “Rudolph the Red-Nosed Reindeer” or Bob B. Soxx’s impassioned statements on “The Bells of St. Mary’s,” Spector gets some of the best emotional readings any of these songs have ever received. Ronnie Spector’s innately sensual voice zaps the innocence out of “I Saw Mommy Kissing Santa Claus,” but her carnality adds a knowing wink to the construct of the song that makes it sound and feel fresh.

 

His maximalist tendencies also make these songs play like rock and roll riots throughout. “Santa Claus is Coming to Town” is a rave-up that would sound right at home sandwiched in-between “Then He Kissed Me” and “I Wonder” on a Crystals album. It’s the sound of a group of young girls turning a fairy tale promise into a barn burner and an excuse to dance in the snow. Same goes for “Parade of the Wooden Soldiers” where their breathlessly girlish voices cascade over a beat made of pounding drums, horns, and clanking percussion.  

 

While Ronnie Spector does melt “Frosty the Snowman” through the sheer force of her sexuality, it’s “Sleigh Ride” that’s the biggest rocker on the album. Between the sound effects, the background chants of  “ring-a-ling-a-ling ding-dong-ding,” Ronnie’s sex kitten invitation, and a swirling production that threatens to spiral off into chaos before eventually succumbing at the very end, “Sleigh Ride” would be the highlight of just about any other album. Yet it has to settle for merely being second best here.

 

Darlene Love is the true MVP of this album, given her four solo appearances and background vocal work with Bob B. Soxx and the Blue Jeans, and there’s no stopping her. She’s playful on the surreal “Marshmallow World,” dreamy on “White Christmas,” and a one-woman choir on “Winter Wonderland” as Spector layers her vocals on top of each other. Nothing beats “Christmas (Baby Please Come Home),” the lone original song on this album and an emotional tour de force. In what is quite possibly the strongest vocal performance of her esteemed career, Love belts, yearns, and pours her heart and soul out all across “Christmas.” Her passion is enough to cause a blizzard during a Texas summer.

 

If there is one misstep on the album, it’s quite possibly the ending coda. Phil Spector speaks a few words of thanks before the entire recording artists harmonize a few lines of “Silent Night.” It’s over just as quickly as it starts and the harmonized vocals are heavenly, but Spector’s spoken word segment is a bit distracting. It doesn’t affect the enjoyment of the album in any major way.

 

It isn’t the season until I listen to A Christmas Gift for You from Phil Spector at least once, typically more than that. More so than just about any individual album, A Christmas Gift for You is the purest distillation of Spector’s genius. Although Presenting the Fabulous Ronettes Featuring Veronica comes closest to not only rivaling it in sheer pop spectacle and power, but in toppling it for supremacy. (The box set Back to Mono (1958 – 1969) is an entirely separate story as that’s three discs of his best and brightest singles all in one collection, and this is included in that set anyway.) It’s just one hell of a delightful piece of pop music at its greatest, and an absolutely essential and vital must-own album.

 

DOWNLOAD: “Christmas (Baby Please Come Home)”



0 comments, Reply to this entry

You Make It Feel Like Christmas

Posted : 3 weeks, 2 days ago on 24 December 2017 07:58 (A review of You Make It Feel Like Christmas)

If you had asked me what I thought a potential Gwen Stefani Christmas album would sound like, I’d probably respond with something along the lines of the bratty New Wave of the Waitresses song “Christmas Wrapping,” maybe the synthpop of Wham!’s “Last Christmas” (more on that song later), or the alternative rock of No Doubt’s cover of “Oi the World.” I wouldn’t expect an album of 50s doo-wop and 60s girl group pop. But it’s a pleasant surprise how well her quirky voice can wrap around these sounds, for the most part.

 

“Jingle Bells” sets us off, and it’s a propulsive blast of old school pop and rock sounds with Stefani’s trademark vibrato riding the waves of the song wonderfully. It’s colorful, it’s quirky, it’s fun, and it sounds like Stefani is as energized here as she was on This Is What the Truth Feels Like. It’s fun to hear her unique voice deliver traditional songs like “White Christmas” or “Let It Snow.” She brings a certain spunk and animated character to them.

 

Yet the limits of her voice show in “Silent Night,” a song she just doesn’t have the range for. She sounds like she’s pushing hard for some of the bigger, higher notes, and maybe this one should’ve been left on the chopping block in favor of something like “Rocking Around the Christmas Tree,” “Jingle Bell Rock,” or “Blue Christmas.”

 

While her version of “Santa Baby” can’t hold a candle to Eartha Kitt’s original, it’s still miles better than several other covers. I’m looking at you Madonna! Stefani’s voice has a certain quality that’s Betty Boop-ish at times, and it’s deployed on this song to strong effect. It’s a fun bit of kitsch, and you can practically conjure up a music video for it with Stefani in some glittery naughty Mrs. Claus outfit done up like a pinup girl.

 

The real surprise of the covers is “Last Christmas.” No mournful synthpop here, instead it sounds like a song the Shirelles might have recorded. It’s a stellar cover where Stefani’s penchant for breakup melodramatics gets to sparkle, and she makes a meal out of it. She mentioned the A Christmas Gift for You from Phil Spector as an influence on the album, and that sound is most apparent here with the layers of background vocals, instruments, and hint of melancholy.

 

The other half of the album is original material, with the treacle of “When I Was a Little Girl” and love song “Never Kissed Anyone with Blue Eyes Before” being standouts for the wrong reasons. Many Christmas songs are love songs of joy or heartache wrapped up in yuletide garnishes, but these songs have little to nothing to do with the season. A much better example of the combination of Christmas/love song is “My Gift Is You,” which sounds a bit like “Stand By Me” and proclaims the greatest gift isn’t anything material but the love she’s found with her paramour.

 

Speaking of him, “You Make It Feel Like Christmas” is a sweet little love song that bounces and grooves like a Motown banger. While “Christmas Eve” may be the best of the original songs, as Stefani digs deep into her Catholic upbringing to craft a song that sounds at once like a pop ballad and a hymnal. It’s gorgeous, highly dramatic, and filled with just a hint of sadness and nostalgia that creeps in around this time for all the colored lights and joyful noise. You Make It Feel Like Christmas is a bit of a mixed bag, but it’s a strong, pleasant listen overall.

 

DOWNLOAD: “Last Christmas”



0 comments, Reply to this entry

Merry from Lena

Posted : 3 weeks, 2 days ago on 24 December 2017 07:22 (A review of Merry From Lena)

Not quite standard yuletide fare but rather a lounge club act centered on the Christmas spirit, Merry from Lena zips and swings with Lena Horne’s trademark sultry and jazzy vocals and bits of adult-oriented humor to give it plenty of flavor. “Jingle All the Way,” a reworking of “Jingle Bells,” sets the tone for the rest of the record, and it’s snappy and grooves along with a ring-a-ting vibe that wouldn’t sound out of place among the Rat Pack. It’s in these moments that Merry from Lena springs to life the most.

 

Listen to how punctuated and emphatic a sultry invitation she makes out of “Let It Snow! Let It Snow! Let It Snow!” She swings along on the groove and delivers well known lines like “I brought some corn for popping” in completely fresh and engaging ways. It sounds like a cozy party with cocktails, humor, and maybe something more under her direction.

 

Then there’s “Rudolph, the Red-Nosed Reindeer,” which she mostly plays straight until dropping this joke: “I think he had a problem. I think he probably liked a little nip once in a while.” Her tongue is firmly planted in her cheek, and zips through the song as if it’s a riot of improbability and drunk humor. You can practically hear the wink she gives while delivering that opening joke and a few other phrase readings.

 

Much of Merry from Lena is made up of traditional ballads, these gives straight dramatic interpretations. Horne was one of our greatest vocal storytellers, able to build up a song’s interior life and dramatics through phrasing, pauses, and belts. “Silent Night” is gorgeous and melodramatic, “The Christmas Song” is unbearably sophisticated, and “Have Yourself a Merry Little Christmas” quakes with vulnerability and the sadness baked into the song.

 

Some of the album is just a pleasing showcase for her vocal styling, “White Christmas,” “Winter Wonderland,” and a extra-swinging version of “What Are You Doing on New Year’s Eve” are all pleasing if not exactly redefining. They play out indistinguishable as arrangements from numerous other versions with only Horne’s vocals being the thing that makes identifiable. Still, Merry from Lena is an enjoyable and fun trip through the season. And she manages to make “Santa Claus is Comin’ to Town” into a hepcat tune, not too shabby.

 

DOWNLOAD: “Let It Snow! Let It Snow! Let It Snow!”



0 comments, Reply to this entry

Compulsion

Posted : 1 month, 1 week ago on 8 December 2017 08:51 (A review of Compulsion)

The true crime story of Leopold and Loeb is something that continues to entrance audiences with its layers of complicated motivations and deviant behavior, add in a dash of homosexuality and Nietzschian ideology and the whole thing practically comes gift wrapped with tabloid glamour. The best known film inspired by the true story was Alfred Hitchcock’s Rope, a grand artistic experiment that finds it stylistic flourishes hampering its merits as a film, but this one may be the best film made out of the case.

 

Compulsion dives us into the minds of its two killers, affluent prodigies who commit their crime simply to prove that they can and that they’re somehow superior to everyone else around them, but primarily situates itself into Dean Stockwell’s Judd Steiner. Stockwell is a revelation here, and Compulsion provides him with the first of many great roles in his adult career (in just a few years he’d dazzle once again in Long Day’s Journey Into Night alongside heavyweights Katharine Hepburn, Ralph Richardson, and Jason Robards.) We spend a great deal of the first half of the film with Judd, and Bradford Dillman’s Arthur Straus to a lesser extent, as the aftermath of the murder and the impending criminal investigation is circling ever closer.

 

It is here that Stockwell gives us a wide-ranging performance as Judd transforms from snotty intellectual into fragile, scared young man. It’s a part that could easily lend itself towards big emotions and overplayed scenes, yet Stockwell withholds at all times. He finds the truth of the character and material, including playing the latent homoeroticism as fact even when the script is clearly merely flirting in that direction. You really believe that Stockwell is in love with Dillman, and how frightened he is once their “perfect” crime slowly dissolves under closer scrutiny and their mistakes.

 

Then the second half switches to a court room drama and away from the twisted, well, not quite a love story of the first half. Orson Welles makes a grand entrance as their lawyer and the film effectively becomes his showcase. The second half is actually uniformly stronger than the first, and Welles provides the second essential ingredient to the launching the film into stronger territory. Welles, for his part, thought that he would be given directorial efforts, and it was, frankly, a better idea to have him do both. Richard Fleischer’s work is fine if unremarkable, but Welles could liven up any type of genre or setting with his incomparable artistry. Compulsion could have been an unheralded classic under Welles instead of a remarkably solid lesser known entity.



0 comments, Reply to this entry

Panama Hattie

Posted : 1 month, 1 week ago on 8 December 2017 07:33 (A review of Panama Hattie)

This one feels like a second-tier throwaway from MGM’s infamous Arthur Freed unit. Panama Hattie is only as good and entertaining as any individual scene in the movie, and some of it is truly uninspired or downright dumb. I’m thinking of just about any of the scenes with a precocious Jackie Horner and several scenes with a mugging trio of sailors (Red Skelton, Rags Ragland, and Ben Blue) as particular low points. While Ann Sothern is a brassy delight throughout, giving her all and a charismatic movie star-style performance no matter how questionable the material. The undeniable highlight of the film is “The Spring,” a musical sequence that brings together Lena Horne’s vocals, the Berry Brothers dancing, and Vincente Minnelli’s staging. It’s an isolated moment of solid gold in an otherwise tepid, uneven film.



0 comments, Reply to this entry

The Towering Inferno

Posted : 1 month, 2 weeks ago on 29 November 2017 05:21 (A review of The Towering Inferno)

The all-star disaster epics of the 1970s were a strange little time capsule, as if the ethical quagmires and pervasive paranoia of the era could only be expressed in blockbusters that trapped a bunch of people in an isolated spot and made sure to shockingly kill off several of the big names every so often. The super-producer of these films was Irwin Allen, and fresh off of throwing a group of stars in a capsized cruise ship in camp classic The Poseidon Adventure, he returns to the template with his “more is better” magnum opus, The Towering Inferno.

 

Some films are great because of the strength of their plots, their visuals, their acting, or some combination of all of the above. But there’s another group of films that are very good-to-great, and those are the films that are pure entertainment. The Towering Inferno is an expertly made piece of entertainment. A bit too long at three hours, but it still provides a movie that enraptures you with its pounding sense of dread and claustrophobic anti-camp gravitas.

 

It’s also just a great excuse to watch Paul Newman and Steve McQueen size each other up, old vets like William Holden, Fred Astaire, and Jennifer Jones add gravity to the proceedings, and starlets like Faye Dunaway suffer elegantly in beautiful gowns. We often go to the movies to watch beautiful, charismatic people romance each other, escape from danger, or behave badly, and The Towering Inferno checks all of those boxes. If nothing else, it’s also a underscoring of the idea that a well-known formula executed with conviction and style will always turn up a winner.

 

There’s a bit of melodrama punctuated by very competent and still thrilling special effects work in its action scenes. You genuinely care about a majority of these characters, either rooting for them to escape or happy to see them meet their demise. While Newman and McQueen are the two leads, and both of them are great in their alternate takes on gruff masculine heroism and sexy, sweaty, it’s the performances of Astaire and Jones that walked away with all of the awards love.

 

Jones, in her final role, is not a surprise, she was an awards darling during her halcyon days, and she gets a solid little character to play here. She engages in a romance with Astaire, is selflessly heroic and maternally caring while rescuing two kids with Newman, and gets to do some stunt-work before her shocking death by falling out of a broken elevator window. But Astaire as a lovable grifter with a knockout final scene does a sneaky stealing of several scenes, yet his Oscar nomination still feels slightly like a “Lifetime Achievement” concession.

 

Part of the terror of The Towering Inferno is how brutally realistic it can feel to be trapped inside of a burning skyscraper. Part of this success is in how this is a disaster movie with plenty of real world parallels and enough realistic special effects work to unnerve. Yet it’s a tightly controlled narrative with predictable beats, the mid-section of the film does seem to repeat far too much, and a sprinkling of shocks to make you sit up and take notice. That miniature work holds up well, as does the real sense that these are the actual stars dangerously close to the uncontrollable (and hungry) flames. The fires of this film demand a sacrifice (or several) for man’s hubris.   



0 comments, Reply to this entry

Angel, Angel, Down We Go

Posted : 1 month, 2 weeks ago on 27 November 2017 10:03 (A review of Angel, Angel, Down We Go)

Angel, Angel, Down We Go, also known as Cult of the Damned, is a doozy of a head trip. I can’t even describe the plot, and won’t even try since none of it makes any sense and none of it feels consequential, but I can say it’s worth a glance. Don’t let my low star rating fool you, this isn’t a “good” movie by any stretch, or an even liberally applied use of the word, but it is really something.

 

I mean, this is a film that gives us the chance to see the former Saint Bernadette declare, “I made 30 stag films and I never faked an orgasm!” Trust me, this is more than enough of a reason to sit back and watch this thing. Jones goes for broke as she disregards the craft of acting in favor of spitting out her bizarre lines with venom and a heavy slur. It’s a hysterical piece of acting, and a bit like watching Gloria Grahame (another Oscar winner who burned out fast) slumming it in Z-grade horror schlock.

 

Angel, Angel, Down We Go appears to be taking place within the id of its central character, Tara Nicole Street (Holly Near), the chubby teenage daughter of Jones’ grand lady and potently homosexual father (Charles Aidman). In-between narrative beats there are collages of old movie star faces, the characters, and paintings that provide bold underlines to the aggression on display, as if it needed more. It’s hard to know what exactly is true, what’s a hallucination, what’s just blatant fakery as we first meet Tara in voiceover giving a whitewashing and heavily-edited variation of her personal history. It’s just easy to see that all of it is provided at maximum volume to be confrontational.

 

Throw in weird diversions such psychedelic pop/rock songs from the Barry Mann-Cynthia Weil songwriting team, a strange obsession with skydiving, the sight and theme of Hollywood eating its own, generational conflict, and the presence of Lou Rawls and Roddy McDowall to express weird jargon about black identity and homosexuality for no reason, and you’ll get close to an approximation of what watching this is like. Maybe a large in-take of substances would make it all have some semblance of sanity, but I somehow doubt it. It’s a happening and a freak out, often in violent collision with each other, and appears to relish its own sense of camp throughout. This doesn’t mean it’s a good movie, but it’s a fascinatingly awful one.  



0 comments, Reply to this entry

The Idol

Posted : 1 month, 2 weeks ago on 27 November 2017 05:30 (A review of The Idol)

After four years away from the screen, and the first work post-David O. Selznick’s passing, Jennifer Jones makes for a curious figure. She seems ill-suited to the role here, and vaguely embarrassed by the things asked of her in the part. There’s nothing about her performance that is as flagrantly bad or mannered as she could be, but she appears to be adrift and unfocused here. Of course, it’s not like The Idol gives her a solid framework or depth of character or emotional texture to work against, or with.

 

The Idol is an obscurity, and it deserves that fate. It’s listless and overly long with a central character and performance that grate more than they help. Michael Parks is merely giving lukewarm Marlon Brando or James Dean, and it just underscores how much better those two were at the tortured, brooding youth than Parks is. They could reveal the layers and depths of their angst-filled anti-heroes that Parks can’t even try to emulate.

 

There’s no reason for us to care or want to know Parks’ Marco, an American college student studying art in London. He steals his best friend’s girlfriend, seduces his mother, turns his lone friend into an emotional eunuch, and generally behaves like an aggrandizing asshole. We’re supposed to buy that Marco is somehow a charismatic asshole with depth of character, or the distinct possibility that there’s nothing deeper there. But the film fails to make us want to spend time with this guy, and we see no reason as to why John Leyton’s character is so devoted to him.

 

The Idol is a hollow film with a worse reputation than it deserves. It’s not the worst thing I’ve ever seen, and it’s not even the worst film of Jones’ career, but it isn’t good. It’s unpleasant and obnoxious in how it tries to elevate a worthless cad to the level of misunderstood rebel.



0 comments, Reply to this entry

Tender is the Night

Posted : 1 month, 3 weeks ago on 26 November 2017 05:52 (A review of Tender Is the Night)

The interior writing style of F. Scott Fitzgerald is practically impossible to adapt to film. It takes work for us to invest and understand the interior life of these characters, and this adaptation fails to do that. Many of these characters are not as sharply observed as they are in his novel, and the film continually suffers for it.

 

There’s also the strange case of Jennifer Jones in the lead role. She’s about twenty years too old for the role, but it’s the last performance of any worth in her career. It comes as a pleasant surprise after a series of overacted and artificial turns in films like Good Morning, Miss Dove and A Farewell to Arms. Jones had her own problems with emotional and mental disturbances, and she funnels those personal demons into this part. Nicole Diver is a part that can sustain her grandiose emotional turbulence, and Jones enlivens every frame as she expertly navigates her Zelda Fitzgerald proxy’s madness, recovery, and episodic fits.

 

It’s a shame that the rest of the players, and the film as a whole, do not rise to her level of commitment. Jason Robards is trying, but the script doesn’t believably transition his F. Scott proxy’s descent and turmoil. The worst of the worst has to be Jill St. John’s starlet, a completely vacuous creation as envisioned by the script and her wooden performance. Only Joan Fontaine as Jones’ older sister makes a good impression. Fontaine goes for broke, not in a sense of overacting but in a way that artistically channels the unintentionally callous and vacuous glitterati of Fitzgerald’s work. Fontaine and Robards have several tense scenes where she throws money at the problem, not in an effort to be cruel, but in a way that suggests this is the only way to problem-solve that she knows. Tender is the Night needed more of this character building and empathy and far less of the surface-level glitz and glamour that it traffics in. 



0 comments, Reply to this entry

A Farewell to Arms

Posted : 1 month, 3 weeks ago on 25 November 2017 05:46 (A review of A Farewell to Arms)

This left me like Elaine in the Seinfeld episode where she’s forced to watch The English Patient, just staring at the screen and seething, “No, I can’t do this anymore. I can’t. It’s too long….Just die already! DIE!” Looking at the critical reception of the day and the more recently, I am apparently not alone in this sentiment.

 

This would be the last production from David O. Selznick, and it follows his hardened formula set with Gone with the Wind, the instant classic he eternally chased. A Farewell to Arms also opens with a text scrawl over vibrant landscapes and highly demonstrative strings playing over it all. Whereas Gone with the Wind had enough source material to justify its prolonged running time, A Farewell to Arms does not. Ernest Hemingway’s prose style favored an unadorned simplicity that Selznick annihilates with his showmanship.

 

Yet it’s this exact choice of showmanship for its own sake that terminates the film from the beginning. Ben Hecht’s script is padded, witness the armistice of WWI occurring and still another thirty minutes of material happening before the final curtain, and much of it is pitched towards Selznick’s sense of grandiosity and cinematic overkill. At times these tendencies could whip themselves into a fury of a film that proved entertaining because of its excesses, but it leaves the romance inert here and Catherine Barkley as an unbelievable female character.

 

Strong performances could go a long way towards salvaging the material, and we get three of them in supporting players but less so in the leads. Rock Hudson looks adrift throughout and I wonder if the original choice for director, John Huston, could have managed to get something more out of him. Hudson was a blank slate actor that needed a strong guiding hand, look at his work for Douglas Sirk or John Frankenheimer, and Charles Vidor does not provide him one here. Vidor himself seems lost among Selznick’s never-ending demands. Hudson would later admit that taking the part in this film was a career mistake, and it’s a damn shame this turned out so poorly. Much like Gary Cooper, who played the role in the 1932 original, Hudson looks like what we imagine a Hemingway character would look like.

 

Even worse is the cast of leading lady Jennifer Jones. It was yet another excuse for Selznick to forge Jones as a cinematic Helen of Troy, but she’s about fifteen years too old for the role and flagrantly overacting here. Much like Hudson, Jones was an actor that needed a strong guiding hand to help her shape a performance, and she’s allowed to run wild with her worst instincts here and indulge in an emotional intensity that gives the impression that she needs to take a sedative and calm down. We don’t buy Jones and Hudson as a romantic pairing, and Jones’ crocodile tears and breathless, slurred line readings aren’t helping matters.

 

Only Elaine Stritch, Mercedes McCambridge, and Vittorio de Sica escape this thing with their dignity intact. McCambridge wasn’t stretching herself too much here, but she does what she normally does very well. It’s Stritch as a wise-cracking nurse and de Sica, Oscar nominated no less, as a morally confused, randy Major Rinaldi that really make this thing tolerable in brief moments. Vittorio de Sica’s haunted face and breakdown during a long march reveal the depth of feeling that was possible in this film that the leads were incapable of producing.

 

And so, A Farewell to Arms continues to spin out, adding more large scale scenes of soldiers marching, of battles, of more extensive production costs on the screen, but it’s all without a heart. Without a strong central reason to care, it’s all sound and fury signifying nothing. Don’t even bother with this version, just watch Frank Borzage’s romantic tragedy run-through of the material.  



0 comments, Reply to this entry


« Prev12 3 4 5 6 7 » 17 » 116 Next »


Movies

Favorite - View all
My movies page

Rated 1421 movies

TV

Favorite - View all
My tv page

Rated 129 tv

Games

Top rated
My games page

Rated 19 games

Music

Favorite - View all
My music page

Rated 548 music

Books

Favorite - View all
My books page

Rated 233 books
Favorite Authors

DVDs

Top rated
My dvds page

Rated 16 dvds

My feed

JxSxPx added 2 items to their collection
Best Christmas Ever

owned

6/10

Siren

7/10


1 day, 15 hours ago
Appetite for Destruction
Paul
Lynyrd Skynyrd (pronounced
Rocks
Graceland

4 days, 19 hours ago
JxSxPx posted a list
4 days, 19 hours ago
JxSxPx added 2 items to their collection
Best in Show

have watched

9/10

Three Coins in the Fountain

6/10


2 weeks, 1 day ago
Spawn
 Spawn 4/10
2 weeks, 4 days ago
JxSxPx posted a image

2 weeks, 4 days ago
JxSxPx added 2 items to their collection
The Iron Giant

have watched

9/10

The Parent Trap

7/10


2 weeks, 4 days ago

A Christmas Gift for You from Phil Spector

“A Christmas Gift for You from Phil Spector is the sound of the super-producer taking his trademark “Wall of Sound” style and smashing beloved Christmas carols into it. “Winter Wonderland” and “White Christmas” now have more in common with “Da Doo Ron Ron” and “He’s a Rebel” tha” read more

3 weeks ago

You Make It Feel Like Christmas

“If you had asked me what I thought a potential Gwen Stefani Christmas album would sound like, I’d probably respond with something along the lines of the bratty New Wave of the Waitresses song “Christmas Wrapping,” maybe the synthpop of Wham!’s “Last Christmas” (more on that song later), ” read more

3 weeks, 2 days ago
3 weeks, 2 days ago
JxSxPx posted a review of Merry From Lena

Merry from Lena

“Not quite standard yuletide fare but rather a lounge club act centered on the Christmas spirit, Merry from Lena zips and swings with Lena Horne’s trademark sultry and jazzy vocals and bits of adult-oriented humor to give it plenty of flavor. “Jingle All the Way,” a reworking of “Jingle Bells” read more

3 weeks, 2 days ago
3 weeks, 4 days ago
Seconds
 Seconds 9/10
1 month ago
12 Angry Men
 12 Angry Men 10/10
1 month ago
JxSxPx posted a image

1 month ago
JxSxPx posted a image

1 month ago
JxSxPx added 4 items to their collection
Debravation
Def, Dumb & Blonde
Rockbird
Kookoo

1 month ago
JxSxPx posted a list
1 month ago
Diana Ross & the Supremes
Dinah Washington
Big Mama Thornton
Chrissie Hynde
Pat Benatar

1 month ago
1 month ago
JxSxPx posted a review of Compulsion

Compulsion

“The true crime story of Leopold and Loeb is something that continues to entrance audiences with its layers of complicated motivations and deviant behavior, add in a dash of homosexuality and Nietzschian ideology and the whole thing practically comes gift wrapped with tabloid glamour. The best known ” read more

1 month, 1 week ago
JxSxPx posted a image

1 month, 1 week ago
JxSxPx posted a review of Panama Hattie

Panama Hattie

“This one feels like a second-tier throwaway from MGM’s infamous Arthur Freed unit. Panama Hattie is only as good and entertaining as any individual scene in the movie, and some of it is truly uninspired or downright dumb. I’m thinking of just about any of the scenes with a precocious Jackie Horn” read more

1 month, 1 week ago
Safety Last!
 Safety Last! 9/10
1 month, 1 week ago
Panama Hattie
 Panama Hattie 4/10
1 month, 2 weeks ago
JxSxPx posted a image

1 month, 2 weeks ago
JxSxPx posted a image

1 month, 2 weeks ago
JxSxPx posted a image

1 month, 2 weeks ago

« Prev12 3 4 5 6 7 » 17 » 26 Next »

Comments

Posted: 10 months, 3 weeks ago at Feb 25 23:02
Thanks for accepting my friend request! Have a nice weekend!
Posted: 1 year, 8 months ago at Apr 29 15:46
At last! I'm finally done with this list...
Thanks again for your help.

If you are interested, you can check the end-result :
Listal's 100 Films To See Before You Die (2016)
Posted: 1 year, 9 months ago at Mar 30 15:29
Thanks for your help! The list has been updated :
http://www.listal.com/list/listals-100-films-see-before-4551
Posted: 1 year, 11 months ago at Feb 11 16:24
Yes, it is once again time for our yearly tradition. What is the best movie, according to you, Listal member? What are you waiting for?!? VOTE!!!!

http://www.listal.com/list/listals-100-films-see-before-4551
Posted: 4 years, 2 months ago at Oct 26 17:23
Posted: 4 years, 9 months ago at Apr 8 14:36
hi friend check out my new list .
hope you like it and thanks for your
time
http://www.listal.com/list/love-these-posters
Posted: 4 years, 9 months ago at Mar 30 14:02
This might just sound schize, but thanks for re-writing my "Pocahontas" review-- saves me the trouble of figuring it all out *again* myself, a-hahahaha....
Posted: 4 years, 10 months ago at Mar 18 22:57
Thanks for participating in my lists.
Sorry, but you can't do another top, really sorry.
But thanks.
Posted: 4 years, 10 months ago at Mar 10 18:22
Thanks for taking part in my musicals list!

I also know how you feel, I found it hard to limit my choices down to 10.
Posted: 4 years, 12 months ago at Jan 19 23:47
hey friend check out my new list. hope you like it
http://www.listal.com/list/reflecting-beuty
Posted: 5 years ago at Dec 21 16:14
Hello there! I enjoyed your review of Dracula and took myself the freedom to link it to my Universal Horror Films - Best to Worst list. Hope you're fine with that!
Posted: 5 years, 6 months ago at Jul 21 2:52
Thank u 4 your comment on the muses list. Suggestion added.
Posted: 5 years, 11 months ago at Jan 27 21:05
I'm working on a new project. Maybe you can check it out and help me. From which State are you from? and in which State are you living right now?

http://www.listal.com/list/around-usa-listals-members

(I may have asked you this already earlier, in this case, apology for the inconvenience!)
Posted: 6 years, 6 months ago at Jul 16 13:06
I'm working on a new project. Maybe you can check it out and help me. From which State are you from? and in which State are you living right now?

http://www.listal.com/list/around-usa-listals-members
Posted: 7 years, 2 months ago at Nov 18 1:19
O.O Thanks!!
Posted: 9 years ago at Jan 12 20:17
cool reviews =]
Posted: 9 years, 2 months ago at Nov 15 17:51
Posted: 9 years, 5 months ago at Aug 12 18:48
Hey man, I see you're pretty new, I'm loving the reviews though! Great job.

Insert image

drop image here
(or click)
or enter URL:
 link image?  square?

Insert video

Format block