adrianovasconcelos
Joined Feb 2017
Welcome to the new profile
We're still working on updating some profile features. To see the badges, ratings breakdowns, and polls for this profile, please go to the previous version.
Reviews911
adrianovasconcelos's rating
Compton Bennett deserves a high perched niche in British cinema for his clearly above average direction of films such as THE YEARS BETWEEN, SO LITTLE TIME, THE DESPERATE MOMENT.
A theatrical play by Daphne du Maurier provides the basis for YEARS BETWEEN. As tends to be the note with du Maurier, female and male characters interact rather realistically, in this instance a couple (Hobson and Redgrave) separated early on in WWII when the hubby goes to war and within a week is declared deceased by the Home Office. Of course, he is alive and returns to reclaim his wife and also his position as MP... which she has fllled in the meantime. What emerges is a way ahead of its time battle of the sexes regarding jobs and how women are as good, if not better than, men at what they do. The point is further driven home by a rather secretive Redgrave who fails to tell his beloved wife why he did not try to apprise her of his live status, even after he returns home.
Meanwhile, Hobson develops the hots for a close friend of Redgrave's - Richard, well played by James McKechnie - and even decides to marry him because she begins to find Redgrave's obtuse selfishness more than a trifle intolerable.
Well, she finds out that he had no option but hide that intelligence from her (though he had no reason to do so after his return) and her wifely loyalty eventually wins the day.
Competent cinematography by Reginald Wyer, largely credible though convenient, too, script, with acting by Redgrave, Hobson, Robson and McKechnie the cherry on a cake of a flick.
Definitely worth watching. 8/10.
A theatrical play by Daphne du Maurier provides the basis for YEARS BETWEEN. As tends to be the note with du Maurier, female and male characters interact rather realistically, in this instance a couple (Hobson and Redgrave) separated early on in WWII when the hubby goes to war and within a week is declared deceased by the Home Office. Of course, he is alive and returns to reclaim his wife and also his position as MP... which she has fllled in the meantime. What emerges is a way ahead of its time battle of the sexes regarding jobs and how women are as good, if not better than, men at what they do. The point is further driven home by a rather secretive Redgrave who fails to tell his beloved wife why he did not try to apprise her of his live status, even after he returns home.
Meanwhile, Hobson develops the hots for a close friend of Redgrave's - Richard, well played by James McKechnie - and even decides to marry him because she begins to find Redgrave's obtuse selfishness more than a trifle intolerable.
Well, she finds out that he had no option but hide that intelligence from her (though he had no reason to do so after his return) and her wifely loyalty eventually wins the day.
Competent cinematography by Reginald Wyer, largely credible though convenient, too, script, with acting by Redgrave, Hobson, Robson and McKechnie the cherry on a cake of a flick.
Definitely worth watching. 8/10.
I know nothing about Director Derrick Borte and on the strength of what I saw in UNHINGED I can only suggest that he abort his career.
He picks up as lead a preposterously obese Russell Crowe, who is having a bad day and decides to take it out on poor Caren Pistorius and her family, ramming her car, invading her house, very nearly setting it on fire, and and very nearly icing her son to boot.
Exactly what prompts that nameless rampant maniac to go on his murderous run I fail to grasp - might be my shortcoming, but so much mindlessness in the main character does not help.
Beautiful Pistorius is easy on the eye and delivers well enough, but lacks the weight to look like a credible foe to Crowe and his evil character.
Barely worth watching, definitely not worth rewatching. 5/10.
He picks up as lead a preposterously obese Russell Crowe, who is having a bad day and decides to take it out on poor Caren Pistorius and her family, ramming her car, invading her house, very nearly setting it on fire, and and very nearly icing her son to boot.
Exactly what prompts that nameless rampant maniac to go on his murderous run I fail to grasp - might be my shortcoming, but so much mindlessness in the main character does not help.
Beautiful Pistorius is easy on the eye and delivers well enough, but lacks the weight to look like a credible foe to Crowe and his evil character.
Barely worth watching, definitely not worth rewatching. 5/10.
I have never heard of Director John Gilling - and with good reason! At least on IMDB, his work does not get much by way of high ratings.
That said, he had a hand in THE MAN INSIDE's script, and it ain't half bad. Clearly, despite scenes in Lisbon (I would contend that it is really a run down part of Madrid, the locals even speak castillian, not Portuguese, irrespective of the obligatory "obrigado"), Madrid, Paris and London, this has the look of a low budget flick.
The action is entertaining enough, with some zesty moments but cinematography by - to me unknown - Ted Moore is generally dark, mostly inside trains, and not overly memorable.
Nigel Patrick stands out as Sam Carter, who insists on being addressed as Carrasco (meaning "executioner" in both Portuguese and Spanish) . He reminded me of Mr Holland in THE LAVENDER HILL MOB (UK 1951), memorably played by Alec Guinness, but with a far colder and more evil drive, to the point of actually icing two or three people along the way, all for the sake of holding on to a priceless diamond.
I agree with other reviewers that Jack Palance seems miscast. I would have loved to see Joel McCrea in his role as March. Anita Ekberg's posterior alone is worth the price of admission, and seeing her whole must have been a massive boner... hmm, bonus, to many a young male spectator at the time.
Bonar Colleano makes a credible, sophisticated heavy with stylish glasses to boot.
Sid James with a US accent and Newley as a Spaniard miss the mark, though, despite the latter's quick thinking - his English is just too good to come across as a convincing Spaniard.
All told, watching this 90-minute flick is no waste of time. 7/10.
That said, he had a hand in THE MAN INSIDE's script, and it ain't half bad. Clearly, despite scenes in Lisbon (I would contend that it is really a run down part of Madrid, the locals even speak castillian, not Portuguese, irrespective of the obligatory "obrigado"), Madrid, Paris and London, this has the look of a low budget flick.
The action is entertaining enough, with some zesty moments but cinematography by - to me unknown - Ted Moore is generally dark, mostly inside trains, and not overly memorable.
Nigel Patrick stands out as Sam Carter, who insists on being addressed as Carrasco (meaning "executioner" in both Portuguese and Spanish) . He reminded me of Mr Holland in THE LAVENDER HILL MOB (UK 1951), memorably played by Alec Guinness, but with a far colder and more evil drive, to the point of actually icing two or three people along the way, all for the sake of holding on to a priceless diamond.
I agree with other reviewers that Jack Palance seems miscast. I would have loved to see Joel McCrea in his role as March. Anita Ekberg's posterior alone is worth the price of admission, and seeing her whole must have been a massive boner... hmm, bonus, to many a young male spectator at the time.
Bonar Colleano makes a credible, sophisticated heavy with stylish glasses to boot.
Sid James with a US accent and Newley as a Spaniard miss the mark, though, despite the latter's quick thinking - his English is just too good to come across as a convincing Spaniard.
All told, watching this 90-minute flick is no waste of time. 7/10.