[17 July 1981, p.17], Despite this sporadic funny stuff and the enthusiastic cast members, "Zorro" degenerates into a ponderous trifle. [12 Nov 1980, p.B7]. Ironically, the stars didn't get it together either. In its own elegant, confounding, chimerical and compassionate way, it’s a lot like life. Yet it does miss in crucial respects. Higgins can't keep his mind from wandering. 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. [26 Apr 1978, p.B1]. [13 June 1980, p.19]. "Dawn" seems like a good 80-minute horror premise stretched out at least half an hour too long. 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. Producer Ray Stark, screenwriter Neil Simon and director Jay Sandrich obviously intended to whip up a frothy, madcap entertainment in the tradition of the screwball comedies of the '30s and '40s. 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. [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. At the same time, it's remarkably evenh Downey's direction is so flat that about 20 rock songs have been inserted to cover the dithering continuity with a semblance of rhythm. Nomadland is the kind of big and big-hearted movie — featuring a central performance at once epic and fine-tuned — that reminds you of how much life one film can hold, when circumstances allow. [13 May 1980, p.B3]. of Western Civilization is a bracing primer to just about anything one might want to know about the hard-core punk scene. 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. You're Washington post for Christ's Sake , not a 12-year-old's diary. [13 June 1978, p.B1], The premise breaks down just at the point when it needs to be cleverly elaborated into a story. Director Penelope Spheeris neither champions, patronizes nor condescends to the participants' stylized fury. [27 Mar 1981, p.C1], With a unity of mood, and some expert supporting performances, notably by John Colicos and Michael Lerner, it has the feel of tinny authenticity. One can only conclude that the filmmakers know as little of the facts of life as the children. Despite its excesses, "The Howling" has some tricks and jokes worth howling about. One begins to feel that making her forgive arson and worse in the name of true love is forcing the naivete of adults on a sensible child. Each new attempt to revive the Western seems to plunge the patient into a deeper coma. [24 July 1981, p.21]. It casts an immediate pictorial spell of wonder and discovery and sustains it until a fadeout that leaves you in a euphoric mood, lingering over images whose beauty and emotional intensity you want to prolong and savor. Unfortunately, screenwriter David Shaber hasn't laid the sort of tracks that can support a clever or gripping vehicle. This awesomely entertaining adventure spectacle, directed by Steven Spielberg from an idea hatched by executive producer George Lucas, succeeds in fusing the most playful and exciting elements of Spielberg's "Jaws" and Lucas' "Star Wars" in a fresh format. Games Home >> New Releases; Coming Soon; Best... Games This Year; Games of All Time; Games by Genre; New Games; More... New Free Games This Month; User's Best New Games ; User's Best Games of All Time; Platforms: PS4; PS5; Xbox One; Xbox … no, probably . An entertaining mishmash of skits which finds Mel Brooks back in lively form, both for better and for worse. One scene in Central Park, when Pacino confronts the murder suspect on a deserted rain-slicked path, is haunting and beautfully photographed. [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. There are some very chilling touches in Blow Out. It makes its case persuasively in a restoration overseen by director Martin Scorsese and producer Robbie Robertson that's been released to celebrate the 25th anniversary of the concert it made famous. The script is eloquently supplied with scenes illustration this fundamental conflict and bond. Director Robert Zemeckis has created a hodgepodge of amateurish, pie-in-the-face humor. [3 July 1981, p.19]. This endearing, thoroughly entertaining movie might be what we all need right now: An invitation to stop and smell the roses — or, if you’re lucky, their far less showy fungal cousins. But this time around, the Washington Post's review of Uncharted 4 was put in the spotlight and a pr… It’s a good movie, executed with affectionate humor, wistful honesty and tender care. [20 Dec 1978, p.E1]. It has a sentimental story, but that's better than the usual dumb good-guys-bad-guys stories; it's corny, but that's better than the cheap smartsyness of most youth films. [9 June 1980, p.B1], Although their film resolves itself into a lurid shambles, screenwriter Gerald Ayres and director Adrian Lyne demonstrate a certain flair for foxy exploitation. [04 Apr 1979, p.B1], A terrific film, the triumphant culmination of many elements that have been attempted in previous ambitious films. ALL RIGHTS RESERVED. Daily broadsheet editions are printed for D.C., Maryland, and Virginia.. 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. There is such a thing as working too hard. Read what Washington Post had to say at Metacritic.com - Page 344 [16 June 1978, p.18], If a movie can be said to snore before your eyes, Damien sustains an ungodly, unstimulating buzz. [13 July 1979, p.24], It's a like a film made by people who don't really care, for an audience of people who don't really care. [02 Feb 1979, p.19], Director Philip Kaufman and producer Robert Solo cleverly entwine such elements as disorienting low-angle shots, an ominously pulsating soundtrack and eerie gloom with the tried-and-true plot and come up with a tight thriller. At least 000,000 people have received one or both doses of the vaccine in the U.S. The Tin Drum is likely to be remembered as another conspicuous example of why the urge to film certain books ought to be resisted. From opening wolf howls through ominous, ambiguous concluding images, it sustains an exciting, witty, erotically compelling illusion of supernatural mystery and terror. [29 Sept 1978, p.D1], The movie is a stunning example of collaborative fidelity and artistry directed by Karel Reisz, and its impact may be heightened if one is in the dark as to the plot of its literary source, Robert Stone's Dog Soldiers. It is a gross, hollow and hokey joke in which even the red herrings prove anemic. Rich and Famous, directed by George Cukor, does it brilliantly. It's an achievement particularly noteworthy in contrast to the Grade-Z "horror" movies that have been cluttering up the screens lately. 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: … It's a dear and corny story, played with lovable grubbiness by Sally Field and Ron Leibman. Indeed, you come out of Back Roads feeling more familiar with the configuration of Sally Field's spinal column and chestbone than the character she's struggling to embody. Not all that long ago he and Quinn were associated on the prestigious hit The Guns of Navarone. [6 March 1981, p.15], Back from their respective voids and together for the firs time, Hurt and Weaver romp romantically as janitor and TV news reporter in Eyewitness, a murky mystery produced and directed by Peter Yates and written by Steve Tesich, the guys who uplifted us via Breaking Away. [13 May 1981, p.B6], Harry Hamlin remains in a depressing, narcissistic low gear in King of the Mountain. As nervy and well-made as it is, Cherry feels less personal than pageant-like, especially in a rushed and glibly perfunctory final sequence. [22 June 1979, p.C1], Rocky II doesn't merely recall its Oscar-winning predecessor, a modestly produced but astutely calculated inspirational fable about the rehabilitation of a down-and-outer. This cinematic triple-decker sandwich is so overstuffed with baloney and cheese it ought to come with a pickle on the side. This is a petition to remove The Washington Post’s Uncharted 4 review score from Metacritic. The Changeling has a stylistic gusto and polish that were conspicuously missing from The Fog and The Amityville Horror. My Zoe is well acted and well filmed, yes, but the storytelling, in which Delpy stitches together mismatched parts like a Dr. Frankenstein, is its weak suit. [12 Dec 1980, p.E1], Considering how firmly the image of Popeye is fixed in the minds of all spinach-bred Americans, it's daring of the film to open by showing the character in its familiar cartoon form. It’s good at what it sets out to do. [25 Apr 1980, p.C1], Happily, director Peter Medak is aware of the fundamental absurdity of his ghost story. [26 June 1981, p.17], As a movie concept, Dragonslayer seems to have so much going for it that it could scarcely miss. [09 Feb 1978, p.B13], Ridley Scott has made a triumphant directing debut by creating a film that looks beautiful but never loses sight of the capacity for animosity and conflict lurking in the human psyche. Mark Jenkins at The Washington Post stated, "The movie is too busy being saucy or sappy to even look at its target." [24 July 1981, p.19], Arthur is one of those rare contemporary entertainments that can be used to contradict people who habitually complain, "They don't make 'em like they used to!" On the plus side, Allen's basic movie-making skills are sound. [5 Oct. 1978, p.B10], Interiors imposes a portentous formality that seems deliberately starved of sensuous appeal. 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. [25 Oct 1980, p.F4], To present a simple progression from crime to trial to death, when a moral dilemma was promised, is a dramatic crime. It's the contrast between the brothers that's the point. Midnight Express sets a new standard in shamelessness. [06 May 1981, p.E7], Priceless it ain't, but if the kids are determined to enjoy it, the brain damage should be minimal. 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. . It is a transcendent blend of heroic exploits, cliffhangers and chases distilled with nostalgia and wit from the pulp thrillers, comic books and Republic serials of the World War II era. Parker has made his visually charming film more than a study of talented and ambitious kids. [28 May 1981, p.D11], Miner doesn't linger over the multiple throat-slashings and skull-splittings. . 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. [18 Feb 1980, p.B1], Technically the movie is flawless. But there's nothing in their lines or behavior that would make any of them irreplaceable in this sort of friendly group. 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. So naturally people enjoy watching them. [19 July 1980, p.B1], Friday the Thirteenth meets Saturday Night Fever. The horror fan who climbs into his movie seat looking for an experience as intense as a roller-coaster ride will be more teased than satisfied. The other half just wants to break stuff. Mommie Dearest, the film version of Christina Crawford's poison-pen memoir of her adoptive mother, Joan Crawford, looms as wretched excess.

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