Tag: Warner Bros.

Take 3: Mame (1974) Review (Golden Double Double Feature Part 3)

On By 18cinemalaneLeave a comment

Thanks for joining me for the third part of my Golden Double Double Feature! My review of 1974’s Mame is spoiler-free. If you’d like to learn more about why I chose this year’s double feature theme, you can check out the introduction in the link below.

Announcing The Golden Double Double Feature!

Mame (1974) poster created by Warner Bros. and American Broadcasting Company (ABC)

1. Out of the movies from Bea Arthur’s filmography, why did you select Mame?

Similar to what I said about my decision to review Mask, I had no idea Bea starred in Mame until I saw the movie listed on her IMDB filmography. While I have heard of Mame prior to selecting it for the Golden Double Double Feature, I had never seen the film. But as I researched Mame before publishing this review, I learned the movie’s reception was mostly negative. Even though I watch every film I write about with an open mind, including Mame, the aforementioned reception led me to approach Mame with low expectations.

2. In Mame, Bea portrays Vera Charles. How is Vera Charles similar or different from Dorothy?

If I could choose one word to describe Dorothy Zbornak, it would be “honest”. In fact, her brutal honesty helps her achieve distinctiveness on The Golden Girls. I remember one scene on the show when Rose asks Dorothy if she can ask her a question. Dorothy matter-of-factly responded to Rose by saying, “Better than anyone I know”. Bea’s character in Mame, Vera Charles, shares this brutal honesty with Dorothy. The musical number, “Bosom Buddies”, perfectly highlights this characteristic. But there is a major difference between Dorothy and Vera. Because Vera is a stage actress, her personality is more dramatic. Meanwhile, Dorothy carries herself with a “tell it like it is” attitude. Though some viewers could perceive this type of attitude as rude, it has become appreciated not just by the other characters on The Golden Girls, but by the show’s fans as well.

3. According to Wikipedia, Mame was the Easter attraction at Radio City Music Hall. Yet, on The Golden Girls, it doesn’t seem like there was an Easter themed episode. Why do you think The Golden Girls didn’t capitalize on the Easter holiday?

Radio City Music Hall choosing Mame as their Easter attraction is a surprising decision. This is because, according to Wikipedia, Disney’s adaptation of Alice in Wonderland (a movie with more family-friendly appeal and a rabbit as one of the main characters) was re-released in March of 1974. To answer question number three, I believe the creative team behind The Golden Girls just never found an Easter themed story that was worth telling on the show. This belief is similar to my answer for the fifth question of my Hallmark Hall of Fame’s The Lost Valentine review, where I speculate why The Golden Girls never received a television film.

4. Was there anything about Mame you liked or didn’t like?

As I said in answer number two, Vera was a brutally honest woman with a dramatic personality. These qualities, along with a drier sense of humor, allowed Vera to add some comic relief to Mame. One of the film’s funniest scenes is when Vera wakes up in Mame’s bathtub after Mame throws an extravagant party the previous evening. To help Vera become more awake, Mame turns on the shower. Vera just stands in the middle of the bathtub, providing no reaction to the shower’s water. I found that lack of reaction hilarious because I wasn’t expecting Vera to just stand in the middle of the bathtub and simply appear irritated due to the interruption caused by the shower’s water. In my opinion, Bea’s portrayal of Vera stole the show!

According to IMDB, Mame has a run-time of two hours and twelve minutes. This run-time could be felt, especially after Mame’s nephew, Patrick, grows up. The second half of Mame was drawn-out, which caused the film’s pace to slow down. In fact, the overall pace of Mame was inconsistent because of how drawn-out the second half was. Had the movie been trimmed to about an hour and forty minutes, Mame’s pace could have been a bit faster.

5. Mame is an adaptation of its respective Broadway musical. Several musical moments were featured on The Golden Girls, from the song about Miami I mentioned in my Mask review to “The Sky Is Falling” number from the episode, ‘Henny Penny – Straight, No Chaser’. What Broadway musical do you wish had been referenced on the show?

Like I said in my third answer of my Mask review, the overarching story of The Golden Girls is grounded in reality, meaning the situations depicted on the show seem realistic, more often than not. Though I haven’t seen any performances of Cats, I have heard it’s a musical that prioritizes performance and presentation over the story, forcing the audience to suspend a lot of their disbelief. I’m not sure if Cats was ever referenced on The Golden Girls. But if it wasn’t, I wonder how a show like The Golden Girls would have incorporated a musical like Cats into the story?

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6. Did you develop any thoughts and/or questions while watching this film?

If you look at Mame’s poster, you’ll notice the bright colors sprinkled across the plain white background. This poster is such a good representation of the movie because Mame is a colorful film! The set and costume design adopts bold hues that nicely burst on screen. A great example presents itself during the musical number, “Mame”. All the men in that number, including Mame’s love interest, Beau, wear red riding jackets. Meanwhile, all the women, especially Mame, wear black riding jackets. These two colors effectively contrasted against the green foliage of the Burnside family plantation. While we’re still on the subject of the musical number, “Mame”, I want to talk about the choreography. As I just mentioned, the “Mame” number takes place at the Burnside family plantation. This sprawling space provided plenty of opportunities to showcase impressive dance sequences. Multiple groups of three men each leaped over hedges lining a walkway. These leaps felt reminiscent of horses jumping, which makes sense because, prior to the number, the characters participated in a fox hunt. Later in the number, both men and women leaped around a circular fountain. This creative choice was a simple yet visually appealing way of utilizing the landscape Mame’s creative team had at their disposal.

7. Throughout The Golden Girls, cheesecake became an iconic staple of the show. What would you say is the iconic staple of Mame?

Similar to when I reviewed Mask, there are several good answers I could choose for this question. Since I can pick only one “iconic staple” for Mame, though, I’ll select Vera’s telescope. In Mame, Vera portrays an astronomer in one of her plays. During the musical number, “The Man in the Moon”, Vera carries a beautiful telescope prop covered in gold glitter and pearls. Telescopes are typically associated with exploring, especially when it comes to space. This particular tool can help people see places and objects clearer, as well as discovering new possibilities. Mame’s musical number, “Open a New Window”, stresses one of the film’s major themes of opening your heart and mind to new opportunities, possibilities, and experiences in order to make life more fulfilling. What I said about the telescope perfectly correlates with this major theme from Mame!

8. Christmas plays a role in Mame, as “We Need a Little Christmas” is one of the movie’s musical numbers. Meanwhile, there are two Christmas episodes of The Golden Girls; ‘‘Twas the Nightmare Before Christmas’ and ‘Have Yourself a Very Little Christmas’. When it comes to Christmas stories, do the aforementioned episodes and Mame share any similarities?

Based on the “We Need a Little Christmas” musical number from Mame, as well as the synopsis for both Christmas episodes of The Golden Girls, I’d say a major similarity is how the events of each story affect a small group of characters to varying degrees. Though it’s a week before Thanksgiving, according to Patrick, Mame makes the decision to celebrate Christmas early. Because she, as well as the other characters in Mame, have been impacted by the Great Depression, she attempts to create joy during a time of hopelessness. Meanwhile, the “golden girls” not only discover Stan’s situation while volunteering at a soup kitchen together, they are also held hostage together by “Santa Claus”. Each Christmas episode of The Golden Girls emphasizes the characters working together to deal with the events affecting them.

9. Mame was released in 1974 (11 years before The Golden Girls premiered). Was there any element from the movie you think could have impacted the show?

I already brought up in this review how the musical number, “Bosom Buddies”, perfectly highlights Vera’s brutal honesty. However, this musical number also highlights how Mame can be brutally honest. The purpose of “Bosom Buddies” is to stress how, despite the brutal honesty among Mame and Vera, their friendship remains valued by each woman. As I was watching this musical number, I was reminded of the friendship between Sophia, Dorothy, Blanche, and Rose on The Golden Girls. There have been times where, at least, one of these women has been so honest, it catches the others off-guard. But, at the end of the day (or by the end of an episode), the friendship among the “golden girls” is cherished, even over a serving of cheesecake. So, to answer this question, I’d say the honest friendship in Mame could have impacted the friendship on The Golden Girls.

10. After watching Mame, is there anything you can take away from your movie-viewing experience?

When I answered question number one in this review, I brought up how I learned Mame’s reception was mostly negative. On IMDB, the film received a score of 5.9. Personally, I think the negativity toward Mame is a bit harsh. Yes, the movie has its flaws, such as its two hour and twelve-minute run-time. But, in my opinion, Mame is fine and entertaining-enough. The set and costume design clearly showed the film’s creative team had a strong vision and consistently stuck with it. The choreography was executed well, especially during the musical number, “Mame”. Bea’s portrayal of Vera was such a highlight, I wish she was featured in the movie more. Vera’s brutal honesty, dramatic personality, and drier sense of humor helped her steal the show! I’m honestly glad I approached Mame with low expectations. Those expectations were surpassed, allowing me to enjoy this film.

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Sally Silverscreen

Comparing with the Critics – Worst of 1980 – When Time Ran Out…

On By 18cinemalane9 Comments

This review is from my series, Comparing with the Critics. If you’d like to learn more about the series, click on the link below.

Introducing my new series, Comparing with the Critics!

My first review for my Comparing with the Critics series was the 1976 picture, Network. Not only is this one of William Holden’s films, I reviewed Network for the 6th Golden Boy Blogathon: A William Holden Celebration. Two years later, I’m doing it again; participating in the 7th Golden Boy Blogathon: A William Holden Celebration and selecting one of William’s movies for my Comparing with the Critics series. As the title states, that film is 1980’s When Time Ran Out…. I had heard of this movie because it was featured in Sneak Previews’ ‘The Worst Movies of 1980’ episode. In this episode, the overarching theme, according to Gene Siskel, was examining “some of the year’s lousiest films in terms of what they reveal about what’s wrong with the American film industry”. When it came to When Time Ran Out…, the problem was “some producers, Irwin Allen being one of them, who have a very low opinion of the audience. They think they can fool the audience and rope them into the same story over and over again”. I will admit I don’t watch as many “disaster” movies as Gene and Roger Ebert did when they were hosting their show. But based on the “disaster” films I’ve seen (and even reviewed), I don’t believe When Time Ran Out… should be considered one of the worst movies of 1980.

When Time Ran Out… poster created by International Cinema and Warner Bros.

A Lifetime movie I remember liking is 2009’s The Christmas Hope. Though it’s been years since I’ve seen the film, I do recall the interconnectivity between the characters, with each connection becoming more intriguing as the story went on. Interconnectivity between characters is an aspect from When Time Ran Out… I liked. When the story starts, the cast of characters are introduced living their own lives and dealing with their own situations. William Holden portrays Shelby Gilmore, a man who owns multiple hotels, including the Kalaleu Gilmore. Paul Newman also stars in When Time Ran Out… as Hank Anderson, whose work on oil rigs leads him to suspect a local volcano may erupt. Hank’s story connects with Shelby’s story because Hank warns Shelby, as well as Shelby’s business partner, Bob Spangler, about the volcano’s potential eruption. Each character’s connection, along with the cast’s on-screen chemistry, kept me invested in the movie while waiting for the eruption of the volcano. I was not only interested in how each character’s path crossed, but also how the volcano and its aftermath would affect the characters.

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Gene claims the problem with When Time Ran Out… is how “some producers” “think they can fool the audience and rope them into the same story over and over again”. As I admitted in this review’s introduction, I don’t watch as many “disaster” movies as Gene and Roger Ebert did when they were hosting their show. However, based on my experience watching When Time Ran Out…, I noticed how the story prioritized the characters’ reactions to the disaster instead of the spectacle of the disaster itself. While the erupting volcano is shown on screen, it isn’t sensationalized like one might expect from a “disaster” movie. The decision to prioritize characters’ reactions shows viewers how natural disasters can indeed have consequences. Some characters get hurt and even die, stressing how no one is invincible while nature has a mind of its own. The threat of a volcanic eruption alone can impact multiple industries, ranging from hospitability, natural resources, and scientific. When the story of When Time Ran Out… progressed, various responses to the eruption were on display. One example is how some of Kalaleu Gilmore’s guests are so desperate to leave the island, they board a helicopter and try to fly it themselves. Everything I just said made this “disaster” picture feel realistic.

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During the segment about When Time Ran Out… in Sneak Previews’ ‘The Worst Movies of 1980’ episode, Roger says “the whole movie is made out of basic scenes we’ve seen dozens of times before”. Meanwhile, Gene criticizes the repetitive nature of When Time Ran Out…’s script as “cruel manipulation”, elaborating by saying “when the audience walks into a film like this and they see that there’s nothing there but that same old formula, I think they feel burned, I think they feel bad about movies in general.” While I agree with Gene and Roger that When Time Ran Out… possesses flaws, I disagree about the types of flaws the movie contains. I understand witnessing the connectivity between characters gave the script build-up to the inevitable volcanic eruption. However, the eruption itself took place at about the film’s halfway point, forcing the audience to wait half the movie for the eruption to happen. This creative decision also caused some of the characters’ resolutions to be wrapped up a little too conveniently for the sake of the run-time. I wish some more of the characters’ reactions to the eruption’s aftermath had been included in the script.

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In When Time Ran Out…, Shelby talks to Bob about “son of a famous father syndrome”, sharing how he always felt like he was under his father’s thumb. When his father passed away, Shelby says he felt a huge weight lifted off his shoulders. But when he found success, he believed it was hollow because his father wasn’t there to witness his success. Bob disagrees with Shelby’s view of success, saying how sweet success is. I find this discussion between Shelby and Bob ironic, as it takes place in a film Roger claimed was “a major box office flop”. When it comes to When Time Ran Out… itself, I found the film fine, intriguing, and interesting-enough. Due to the connections between the characters, I was invested in how they responded to the eruption and its aftermath. I also appreciate the creative team’s decision to adopt a more realistic approach to the eruption. That creative choice provides a strong reminder how unpredictable nature can sometimes be. Yes, When Time Ran Out… has its flaws. But because I don’t consistently watch “disaster” films, I didn’t pick up on the repetitiveness Roger and Gene did. Similar to when I reviewed Network, the 1980 picture is one I disagree with Gene and Roger on.

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Comparing with the Critics – Best of 1985 – Mad Max Beyond Thunderdome

On By 18cinemalane8 Comments

This review is from my series, Comparing with the Critics. If you’d like to learn more about the series, click on the link below.

Introducing my new series, Comparing with the Critics!

In my Comparing with the Critics review of Amadeus, I mentioned the Falco song, “Rock Me Amadeus”, being one of the reasons why I was intrigued to review the movie. I actually have a similar experience with Mad Max Beyond Thunderdome. Every time I think of this film, I think of the Tina Turner song, “We Don’t Need Another Hero (Thunderdome)”. This is an ironic coincidence, as “We Don’t Need Another Hero (Thunderdome)” and “Rock Me Amadeus” were released in 1985. Another ironic coincidence is how, for the Comparing with the Critics series, I, once again, selected an ‘80s film both Roger Ebert and Gene Siskel liked. Though Mad Max Beyond Thunderdome only appeared on Roger’s list of the top ten best films of 1985, each critic gave the movie a thumbs-up when they reviewed it on an episode of At The Movies. Before this Comparing with the Critics review, I had never seen any of the Mad Max movies, let alone Mad Max Beyond Thunderdome. Therefore, I couldn’t agree or disagree when Roger stated that Mad Max Beyond Thunderdome was “the best of the Road Warrior movies” or when Gene declared it was “a great, violent, fun picture”. Now that I have seen the film, I can honestly say I don’t agree with Gene’s and Roger’s praise. It’s not that Mad Max Beyond Thunderdome is a bad movie, I just didn’t like or love it as much as the critics did.

Mad Max Beyond Thunderdome poster created by Kennedy Miller Productions and Warner Bros.

While sharing his opinion on Mad Max Beyond Thunderdome in an episode of At The Movies, Gene complements the directors, George Miller and George Ogilvie, as both of them “successfully creates a complete alien world on film”. To add to Gene’s statement, Roger commented how the film’s “world is as rich as Casablanca or as rich as Oz”. I admit one of the strengths of Mad Max Beyond Thunderdome was its set design, as the movie’s creative team presented an atmosphere that felt immersive! One of the conflicts in the story is Max battling in a duel against a character named Blaster, in order to retrieve his stolen items. They fight within the titular Thunderdome, a circular caged structure built out of steel-like material. What adds to the scene’s immersion is the medium and close-up shots captured within the Thunderdome. The combination of these creative choices helps the audience feel like they are right in the middle of the excitement! Even the sign advertising the Thunderdome is a blend of color, light, and dirt. This specific prop captures the thrill of the dueling action while also consistently displays the film’s aesthetic.

Image by Freepik

As I said in this review’s introduction, Mad Max Beyond Thunderdome ended up on Roger’s list of the top ten best films of 1985. One of his reasons was how he “was overwhelmed by the wealth of new ideas they came up with in the third picture”. Specifically speaking about Max and Blaster’s aforementioned duel, Roger explains how this scene presents two new ideas; “a new place to put the audience, which is over the top of the dome, and a new way to fight by putting the people on elastic bands so they have a three or a four dimensional, if you will, fight instead of regular punching it out”. Adding to Roger’s explanation, both Max and Blaster were given more freedom to move around the Thunderdome because of their elastic harnesses. While there was fist-fighting in the duel, flips and large jumps were incorporated in the fight choreography. Blaster and Max were presented with a variety of weapons, which added to the duel’s unpredictability. It also shows how the duel itself was a battle of strategy. This scene is definitely one of the most memorable from Mad Max Beyond Thunderdome!

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While Gene and Roger sang the praises of Mad Max Beyond Thunderdome, I was disappointed they ignored Tina Turner’s portrayal of Aunty Entity. Personally, I think Tina is a better actress than some people give her credit for. Her performance in this film proves that. A great example is when Master confronts Aunty Entity about the true leadership of Bartertown. Before this confrontation, Aunty Entity is confident in her ability to rule over this little community. Master calls her out by questioning who’s in charge. Aunty’s confidence gradually turns into anger. She develops a stern look on her face, the anger itself filling her eyes. There’s even a point where Aunty’s bottled-up anger causes her to shake. This scene shows how Tina’s performance was able to say so much while utilizing very little dialogue.

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Like I brought up in my review’s introduction, I didn’t like or love Mad Max Beyond Thunderdome as much as Roger and Gene did. A reason for my opinion is how the script left several questions unanswered. When Max meets the children of the Planet Erf tribe, the children believe he is Captain Walker. They describe Captain Walker as a plane pilot who will lead them to a better land. Because Jedediah was introduced in Mad Max Beyond Thunderdome as a man who could successfully fly a plane, I thought he could be Captain Walker, connecting him to the Planet Erf tribe’s part of the story. But this wasn’t the case, leaving questions about Captain Walker’s whereabouts. I was also not a fan of the creative team’s decision to prioritize telling over showing. A good example is when Blaster is about to be defeated in his and Max’s duel. Master begs Max not to kill Blaster, as he has a lot of respect for Blaster. However, this respect isn’t shown leading up to that scene. The only interactions with Master and Blaster are Master simply using Blaster as a means of transportation. Had the respect and camaraderie between Blaster and Master been better displayed, the duel itself and even its aftermath would have carried more emotional weight.

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When Roger Ebert placed Mad Max Beyond Thunderdome on his list of the top ten best films of 1985, he called it “a great looking, high styled thriller”. Gene Siskel even claimed that “kids are gonna want toys out of this film” and “people are gonna dress like out of this film”. I can only speak for myself, but I wouldn’t go out of my way to seek out merchandise related to this movie or even revisit this movie. That’s because I thought Mad Max Beyond Thunderdome was just a fine, well-made picture. I couldn’t become fully invested in this story because of the collection of unanswered questions, which left me confused. I did not like the creative team’s decision to emphasize telling over showing as well. But the movie does have its merits. The world-building was one of the strongest aspects of the production, as the directors helped create an on-screen world that felt immersive. I not only liked the acting, I also believe the Thunderdome duel was one of the film’s most memorable scenes. So, this is yet another review where I didn’t agree with the critics. Now, if you’ll excuse me, I’ve got to go sing along to Tina Turner’s song, “We Don’t Need Another Hero (Thunderdome)”!

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Take 3: Jack and the Beanstalk (1952) Review

On By 18cinemalane3 Comments

I need to make a confession: in the seven years 18 Cinema Lane has been around, I’ve never reviewed any of Abbott and Costello’s films. (insert shocked gasp here) But at 18 Cinema Lane, I am willing to expand my cinematic horizons. This is one of the reasons why I selected 1952’s Jack and the Beanstalk for the Once Upon A Time Blogathon. Another reason is how I don’t often get the opportunity to write about fantasy films. In fact, the last fantasy movie I reviewed was Cancel Christmas last December. When I came across the poster for Jack and the Beanstalk, I was surprised to read the tagline “Their first picture in color”! Abbott and Costello are household names in the world of comedy. Plus, this adaptation of the fairy tale was released thirteen years after The Wizard of Oz. So, is the movie worthy of such a historic milestone? Adventure through this review of Jack and the Beanstalk to find out!

Jack and the Beanstalk (1952) poster created by Exclusive Productions Inc., Legend Films, and Warner Bros.

Things I liked about the film:

The dialogue: Sometimes, a movie’s comedy will be woven into the dialogue. Words spoken between characters can not only be hilarious, but also clever and witty, especially if the screenwriting is strong. Dialogue was one of the best qualities of Jack and the Beanstalk! One example is from the beginning of the film. Arthur arrives at Eloise’s house to pick her up for play rehearsal. Her younger brother, Donald, answers the door, even setting up a trap that causes Arthur to fall. When Arthur asks Donald where Eloise is, Donald replies in a matter-of-fact manner, “putting on her lipstick so you can kiss off”. What makes this line so memorable is how it fits the character of Donald, who is portrayed as a precocious child. Another example happens during the ‘Jack and the Beanstalk’ story. Jack is heartbroken when his mother suggests they sell the family cow. After Jack’s mother urges him to take the cow to the market, Jack tells her, “Yes mother. You can depend on me. Whatever they bid, I’ll bid higher”. This is a line that is genuinely funny, as Jack says it with good intentions.

The use of color film: During the opening credits of Jack and the Beanstalk, it’s revealed parts of the film are presented in Super Cine Color. These parts are the ‘Jack and the Beanstalk’ story itself, while the “modern” parts of the movie are shown in black-and-white film. I actually liked this creative decision! It emphasized the magic and whimsy of the fairy tale. The use of color film also allowed the vibrant hues of the costume and set design to be visible. Overall, this production of Jack and the Beanstalk felt pleasantly reminiscent of 1939’s The Wizard of Oz!

Working as a pair: Bud Abbott and Lou Costello (also known as Abbott and Costello) have been acknowledged as one of the most beloved comedic duos in film history. So, I was curious how they would work together in Jack and the Beanstalk, since the heroic adventure typically involves only one character. Lou portrays Jack and Bud portrays Mr. Dinkelpuss (a local butcher). Even though both characters travel up the titular beanstalk, they each have their own motives. Mr. Dinkelpuss and Jack help each other escape The Giant’s castle as well. Through the acting performances and the screenwriting, this version of Jack and the Beanstalk feels like Jack was always meant to travel with a buddy.

Once Upon a Time Blogathon: Fairy Tales, Legends, & Myths banner created by Annette from Hometowns to Hollywood

What I didn’t like about the film:

Musical padding: The 1952 adaptation of Jack and the Beanstalk is a musical, with five musical numbers incorporated into the production. These numbers were very well choreographed and sounded good musically. However, they felt like padding, making the movie seem longer than its one hour and twenty-three-minute run-time. A few of the musical numbers feel drawn out, such as the almost three-minute dance between Jack and Polly. Had some of these numbers been trimmed down, the overall run-time could have been under an hour and twenty minutes.

Forgotten details: Within Jack and the Beanstalk’s script, there were a few forgotten details. Jack’s cow, Henry, presents two examples. When Henry is first brought up in the movie, Jack refers to the cow as female. He even puts makeup on her to stress this fact. But before Jack says goodbye to Henry at Mr. Dinkelpuss’ shop, Jack tells the cow to “be a good boy”. Later in the movie, Jack climbs the beanstalk. One of his intentions is to rescue Henry from the clutches of The Giant. When Jack and his friends finally escape The Giant’s castle, however, Polly is the one who ends up saving Henry.

Patrick the Harp: In The Giant’s castle resides a harp named Patrick. Not only does music play every time he talks, he’s also very critical of Polly. Personally, I was not a fan of Patrick. He spoke with a thick accent, which sometimes made it difficult to understand what he was saying. His role in the story was quite minimal, offering little to the plot. If Patrick had been written out of Jack and the Beanstalk, not much would change.

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My overall impression:

As I mentioned in the introduction of my review, Abbott and Costello are household names in the world of comedy. However, there is a reason why they achieved this honor. Using Jack and the Beanstalk to explain my point, Costello and Abbott work together as a team. Even in a fairy tale where a team dynamic doesn’t exist, they find a way, through acting and screenwriting, to create a story where they can both shine. The dialogue was one of the strongest aspects of the 1952 adaptation, as it was hilariously clever. It also helps that the dialogue was written and delivered well. Even the use of color film enhanced the whimsical charm one would expect from a fairy tale. While Jack and the Beanstalk does have its flaws, it is, indeed, a pleasant presentation! Now, if you’ll excuse me, I need to figure out who really is on first.

Overall score: 7.4 out of 10

Have you seen 1952’s Jack and the Beanstalk? What other fairy tales would you have liked to see Abott and Costello star in? Tell me in the comment below!

Have fun at the movies!

Sally Silverscreen

That’s a Wrap for my Second Chance Christmas Double Feature

On By 18cinemalaneLeave a comment

Now we’ve come to the end of another double feature, as both chosen titles, Young at Heart and An Old Fashioned Christmas, have been watched and reviewed! In the introduction, I brought up the following question:

Did these two movies deserve a second chance?

For my answer, I’ll say Young at Heart was more deserving of a second chance than An Old Fashioned Christmas. With Young at Heart, I not only received an opportunity to check out more projects from Frank Sinatra’s and Alan Hale Jr.’s filmography, I was also given an official introduction to Doris Day’s movies. I found a good excuse to see more musicals, as well as films from the 1950s. Overall, I enjoyed Young at Heart more than Hallmark’s 2010 presentation. As someone who loves An Old Fashioned Thanksgiving, the sequel left a lot to be desired. Despite being titled An Old Fashioned Christmas, the film didn’t feel like a Christmas film. Instead of prioritizing the messages and themes of the holiday, the script primarily focused on stories that could have taken place any time of year. It also doesn’t help how so much of the story revolves around a love triangle. Looking back on An Old Fashioned Christmas, it makes me wonder if the sequel’s poorer quality, as well as becoming forgotten by time and Hallmark themselves, is the reason why I’ve, more often than not, seen DVD copies of the movie included in Christmas movie box sets?

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Have fun at the movies!

Sally Silverscreen

Take 3: Young at Heart Review (Second Chance Christmas Double Feature Part 1)

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Thank you for joining me for the first part of my Second Chance Christmas Double Feature! Similar to last year’s review of I Am David, my review of Young at Heart is spoiler-free. If you’re curious about why I chose Young at Heart for this double feature, you can check out the introduction in the link below.

Coming Soon to a Blog Near You; The Second Chance Christmas Double Feature!

Young at Heart poster created by Arwin Productions and Warner Bros.

1. How were you introduced to Young at Heart and why was it selected for this double feature?

I was introduced to Young at Heart back in January of 2020, through a recommendation from Maddy (of the blog, Maddy Loves Her Classic Films). Several months later, I received another recommendation for Young at Heart. This time, the suggestion came from Moviecriticqueen (of the blog, Movies Meet Their Match). For five years, this movie has stayed on my movie recommendation board on Pinterest. But I have tried to find the right opportunity to write about the film. When I participated in the Sixth Annual Barrymore Trilogy Blogathon, I was originally going to review two movies; Young at Heart and Twentieth Century. Due to technical difficulties, I only had time to write about one film, which I selected the 1934 title. In 2021, I wanted to participate in the Star/Genre Of The Month Blogathon, as January’s featured star was Doris Day. But a busy schedule prevented me from joining the event.

2. You discovered Young at Heart was a Christmas movie after you learned more about the film on IMDB. What else have you discovered about the 1954 picture?

While watching Young at Heart, I discovered Alan Hale Jr. portrayed a character named Bob. Those familiar with their television history would recognize Alan from his starring role (‘Skipper’) on Gilligan’s Island. I will admit the only projects from his filmography I’ve seen are Gilligan’s Island and The North Avenue Irregulars. Even though I’m more familiar with Alan’s appearances on Gilligan’s Island, it was a pleasant surprise to see him star in a different medium!

3. Is the theme of “second chances” incorporated in Young at Heart’s story? If so, how?

Yes, specifically in Barney’s part of the story! When he’s introduced in Young at Heart, Barney (portrayed by Frank Sinatra) is a very pessimistic man. He feels no matter what he does, he will never find success. Throughout the film, one of the few people who believes in Barney is Doris Day’s character, Laurie. During their initial meeting, Laurie tells Barney how anyone can control their own fate. She also encourages him to complete one of his songs. By befriending Barney, Laurie gave him a second chance to prove how valuable he is. Without spoiling the movie, Laurie and Barney’s friendship pays off!

4. Was there anything about Young at Heart you liked or didn’t like?

One of the best aspects of Young at Heart was the dialogue! The writing and delivery were so sharp and witty, it made interactions between the characters interesting! When Barney first arrives at the Tuttle family’s house, he meets Aunt Jessie. During their conversation, Barney nonchalantly asks Aunt Jessie what kind of aunt she is. With a stern tone in her voice, Aunt Jessie promptly tells him her name came first and the curtains came later. This simple exchange between Aunt Jessie and Barney shows some of their character development, as well as the dynamic these characters share.

As I answered for question number three, Barney is a very pessimistic man who believes he can’t find success. I recognize how overcoming insecurities and doubts takes time. But, in Young at Heart, Barney spends most of the movie being pessimistic. He doesn’t change his perspective until the end of the film. This creative choice made Barney a static character. I wish his transformation had gradually taken place over the course of the story.

Adorable Christmas card image created by Rawpixel.com at freepik.com. <a href=’https://www.freepik.com/free-vector/christmas-greeting-card-vector_2824854.htm’>Designed by Rawpixel.com</a>. <a href=”https://www.freepik.com/free-photos-vectors/christmas”>Christmas vector created by Rawpixel.com – Freepik.com</a>. Image found at freepik.com.

5. On 18 Cinema Lane, you’ve covered plenty of Christmas films. How is Young at Heart similar to or different from other Christmas pictures written about on your blog?

It is true that Christmas has a place in Young at Heart. However, the story spans over the course of several months. This means only a portion of the movie is set during Christmas. So, if I had to compare Young at Heart to any of the Christmas films I’ve reviewed, it would be Meet Me in St. Louis. The 1944 movie not only takes place over a year, there is one scene set during Christmas.

6. Did you develop any thoughts and/or questions while watching this film?

As I was watching Young at Heart, I found moments of irony when it came to Barney. When Barney first meets Laurie, he talks about serving in the military during World War II. This reminded me of how Frank’s character, Clarence “Brooklyn” Doolittle, was in the Navy in Anchors Aweigh. During his conversation with Laurie, Barney says he’s never created a hit song. Throughout Frank’s career, he had several hit songs to his name. One notable example is “New York, New York”, which has become the unofficial theme song for New Year’s in Times Square. Any time Barney performed at a restaurant, the patrons didn’t pay him any attention. I’d like to think if Frank had shown up at any restaurant, most of the patrons would have stopped what they were doing to focus on Frank.

7. How would the story of Young at Heart change if it revolved around another holiday?

Like I answered for question number five, Young at Heart spans over the course of several months, with Christmas playing a role in only a portion of the movie. Therefore, I don’t think the story would change much had another holiday served as the primary focus.

8. Did Young at Heart deserve a second chance? If so, why?

I do believe Young at Heart deserved a second chance! By finally checking this movie out, it gave me an opportunity to see more projects from Frank Sinatra’s and Alan Hale Jr.’s filmography. Young at Heart also became my introduction to Doris Day’s films, as I had never seen any of her movies before 2025.

9. After watching Young at Heart, is there anything you can take away from your movie viewing experience?

Young at Heart and The Chalk Garden share one thing in common; a character-driven story that works because of the strength of the cast. But a major difference between these films is how Young at Heart’s script is more “slice of life”. There were conflicts woven into the story. However, these conflicts were either abandoned or resolved at the very end of the movie. I wish Young at Heart had put a little more emphasis on problem-solving among the characters. Another thing The Chalk Garden and Young at Heart have in common is the dialogue, as it was well-written and delivered in both films. There was, clearly, thought and effort put into this film-making component, which made interactions between characters interesting. While I found The Chalk Garden good, Young at Heart was, in my opinion, just fine. The 1954 production could be used as an introduction to Doris Day’s filmography.

Group of puppies image created by Rawpixel.com at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background photo created by rawpixel.com – http://www.freepik.com</a>. Image found at freepik.com.

Have fun at the movies!

Sally Silverscreen

Take 3: Dial M for Murder Review

On By 18cinemalane13 Comments

For this movie review, I chose to write about the 1954 film, Dial M for Murder, for two reasons. The first is how I selected this specific title for The 6th Wonderful Grace Kelly Blogathon, as Grace Kelly stars in the film. The second reason is how, prior to this review, I had never seen Dial M for Murder. Grace and Alfred are no strangers to 18 Cinema Lane. As of mid-November, 2024, I have reviewed two of Grace’s films; High Society (which I thought was fine) and To Catch a Thief (which I found just ok). Meanwhile, four of Alfred Hitchcock’s movies have been covered on my blog. Out of those titles, Strangers on a Train is, in my opinion, still the best one. But how does Dial M for Murder compare to any of Alfred’s films featured on 18 Cinema Lane? Find out by reading my review!

Dial M for Murder poster created by Warner Bros.

Things I liked about the film:

The acting: Since Grace Kelly is the reason why I chose to review Dial M for Murder, I will talk about her performance first. Out of her movies I’ve seen, I’ve noticed how her character portrayals have appeared at ease. Her performance in Dial M for Murder is no different, as her adopted mannerisms and reactions came across as realistic! While sharing a conversation with Mark (portrayed by Robert Cummings), Grace’s character, Margot, seems comfortable in his presence. She effortlessly moves around her apartment and, at times, stands close to him. But when she talks with Mark about how her husband, Tony, has changed, Margot appears to stare into the distance. The combination of her aforementioned stare and frown indicates how Tony’s behavior has troubled her. It also shows the audience how effective Grace’s acting talents are!

As I just said in this review, Robert Cummings portrays Mark, a close friend of Margot. Though they shared only a few scenes together, Grace and Robert displayed nice on-screen chemistry! The strength of Robert’s and Grace’s acting abilities helped their characters appear to truly get along with each other. While I liked Robert’s performance in Dial M for Murder, I was also impressed with Ray Milland’s performance! Similar to Grace’s portrayal of Margot, Ray’s portrayal of Tony showcases how adaptable his acting skills are. For example, Tony looks annoyed while at a restaurant with Mark. From the tone in his voice to constantly checking his watch, Tony clearly appears impatient. A few scenes later, as he’s on the phone with Margot, his demeanor quickly changes to concern due to what he hears over the phone. Throughout his performance, Ray effortlessly brought his character to life!

The use of lighting: Over the course of his career, Alfred Hitchcock has received the title of “Master of Suspense”. One reason why he was given this title is because of how he utilizes lighting to stir up a mood, present visually interesting concepts, or add suspense. In one scene, someone enters Margot and Tony’s apartment. This moment takes place at night, so the only light comes from the fireplace in the living room. An orange glow only providing light to certain areas of the room creates a suspenseful environment, giving the intruder places to hide. I brought up earlier in this review how Mark and Margot shared a conversation. Their conversation takes place in Tony and Margot’s apartment. Right before Tony returns home, Margot’s and Mark’s shadow departs from each other, keeping the closeness of their relationship a secret.

The use of color: Dial M for Murder’s opening credits reveal how the film’s creative team used “WarnerColor” in their project. I’m glad this movie was presented in color because it gave the creative team opportunities to utilize this visual technique to their advantage! Sometimes, the color red was incorporated into a character’s wardrobe. This ranged from Margot wearing a red dress at the beginning of the movie to Tony sporting deep red suspenders. One of the pieces of décor in Margot and Tony’s apartment were dark green curtains. In these examples, color was chosen to draw the audience’s attention to a person, object, or location in the room.

The 6th Wonderful Grace Kelly Blogathon banner created by Virginie from The Wonderful World of Cinema and Emily from The Flapper Dame

What I didn’t like about the film:

Exposition heavy: At the beginning of the movie, Margot shares with Mark how she recently lost her purse. She also tells him when her purse was returned, a letter Mark wrote her was missing. But shortly after Margot made this confession, an exposition heavy scene revealed the letter’s whereabouts, as well as who the story’s perpetrator was. Because this information was revealed so early in the movie, it took away a lot of the story’s suspense. So much exposition given within the film’s first ten minutes may also overwhelm the audience, possibly missing important information if they don’t actively pay attention to the dialogue.

A mystery that isn’t interactive: While talking about Dial M for Murder’s exposition heavy story, I said the perpetrator was revealed so early in the movie. This creative choice takes away the audience’s opportunity to solve the mystery of whodunit alongside the characters. What Dial M for Murder became was a story of how the perpetrator would get caught, similar to programs like Columbo and Diagnosis Murder. That creative decision forces the audience to simply watch the characters solve the story’s mystery. With everything I said, the mystery in Dial M for Murder wasn’t interactive.

A less intimidating antagonist: In some of Alfred Hitchcock’s movies, the antagonist is an intimidating person for a variety of reasons. Their intimidation can add suspense and intensity to a given film’s story. I will not spoil Dial M for Murder. However, I can honestly say I did not find the movie’s antagonist intimidating. Throughout the story, the antagonist kept making dumb decisions, which distracted from their attempts to be an intimidating character. It also didn’t help how the exposition heaviness of the film’s first ten minutes took away a lot of the story’s suspense. If anything, the antagonist in Dial M for Murder was annoying.

Colorful image of key created by orchidart at freepik.com. Flower vector created by orchidart – www.freepik.com

My overall impression:

As of the publication of this review, I have seen eight of Alfred Hitchcock’s films. While I was disappointed by The 39 Steps, I ended up liking Strangers on a Train. When it comes to Dial M for Murder, though, the movie lies somewhere in the middle. Grace Kelly’s performance was, once again, one of the best parts of the production! Her portrayal of Margot was so strong, her reactions and expressions appeared realistic! The use of lighting and color gave Alfred and his creative team ways to present visually creative ideas. But what held Dial M for Murder back from being a more intriguing project is how the first ten minutes of the story was exposition heavy, with this decision impacting the film’s suspense. The mystery not being interactive also takes away some of Dial M for Murder’s intrigue. Alfred’s film felt reminiscent of shows like Columbo and Diagnosis Murder, where the audience simply waits for the perpetrator to get caught. Personally, I prefer mystery stories where I’m left guessing whodunit.

Overall score: 6-6.1 out of 10

Have you seen Dial M for Murder? Which movie of Alfred Hitchcock’s would you like to see me review next? Tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: In Country (1989) Review

On By 18cinemalane3 Comments

One of the best parts about participating in blogathons is being introduced to movies that may be new to you. This is my experience with the 1989 film, In Country! For Taking Up Room’s Norman Jewison Blogathon, I wanted to choose a movie that was more underrated. While searching through Norman’s IMDB filmography, I came across the aforementioned ‘80s title. The synopsis reminded me of My Girl 2, where Vada is attempting to learn more about her mother. What sets In Country apart from the 1994 sequel is how the 1989 movie explores the aftermath of the Vietnam War by having the protagonist search for answers about her father. In 2024, I have reviewed four other films from the 1980s, so far. Similar to titles like Amadeus and Hallmark Hall of Fame’s Pack of Lies, In Country incorporates historical elements into the story. But will the 1989 movie be a pleasant surprise like Amadeus or a disappointment like Pack of Lies? Keep reading my review to find out!

In Country (1989) poster created by Warner Bros. and Yorktown Productions

Things I liked about the film:

The acting: In any story, especially one that features a young protagonist, the main character’s likability can determine if the story is worth investing time in. I can only speak for myself, but I liked Samantha “Sam” Hughes’ personality! Though naïve at times, Sam was like a bright ray of sunshine, caring about the people in her life and trying to make her world a better place. What made Sam a likeable character was how genuine her emotions were. After finding a box of her father’s belongings in her mother’s room, Sam leaves a voice message on the phone explaining to her mother how upset she is by her mother’s silence about her father. When she hangs up the phone, the sad look in her eyes and the slight frown perfectly show how hurt Sam feels about her mother’s choices. This is just one example of Emily Lloyd bringing that genuineness to life, allowing her performance to be memorable!

Prior to watching and reviewing In Country, I had seen some of Bruce Willis’ films. His portrayal of Emmett Smith is different from some of his other roles, as he had to rely on emotion instead of action to carry his character through the story. A thunderstorm is causing chaos outside Emmett’s home one evening. Because of his time serving in the Vietnam War, he flinches whenever thunder strikes due to the flashbacks he is experiencing. At the same time, Emmett carries irritation in his voice because he wants the storm to stop and he wants to avoid Sam’s questions. Similar to what I said about Emily Lloyd’s performance, Bruce’s performance felt genuine. Beneath the tough exterior Emmett consistently displayed, he was a man who was trying to live a civilian life as best as he knew how.

Honesty about war and its impact on veterans: Like I just mentioned in this review, Emmett experiences flashbacks one stormy evening due to his time serving in the Vietnam War. These flashbacks not only cause Emmett to flinch every time thunder strikes, they also cause him to go outside, climb up a tree, and yell for someone to show their face. Throughout this scene, Sam asks Emmett questions about what is happening. Unfortunately for Sam, these questions are left unanswered. When Emmett goes outside, Sam calls for Emmett to come back in the house. As Emmett’s mind and heart are beyond the borders of his Kentucky home, Sam feels powerless, unsure of how to help Emmett. The scene I just wrote about is one example of the film’s honesty when discussing war and its impact on veterans. The candid way these subjects were talked about in the movie shows how the movie’s creative team understood the subjects’ significance.

The mise-en-scène: I’ve explained before that mise-en-scène is how a scene is presented in a movie. Mise-en-scène was utilized in several scenes’ favor in In Country. Toward the beginning of the film, a group of U.S. soldiers are wading through the swamps of Vietnam. This moment is presented as a long shot with the view appearing as if the camera is hiding behind the swamp’s foliage. How this scene is showcased to the audience emphasizes the soldiers’ need to stay unseen. Sam, Emmett, and Mamaw travel to Washington D.C. to visit the Vietnam Veterans Memorial. While walking past the monument, a close-up shot captured Mamaw as the names on the monument were gliding past her face. The visuals symbolized how the Vietnam veterans have touched the lives of not just their loved ones, but those in their communities as well.

The Norman Jewison Blogathon created by Rebecca from Taking Up Room

What I didn’t like about the film:

Sam’s attraction for Tom: While trying to learn more about her father, Sam turns to a veteran named Tom. At the Vietnam veterans’ dance, Sam invites Tom to share a slow-dance with her, where they get a little too close for comfort. After the dance, Sam spends the night at Tom’s house and has sex with him. Up until the slow-dance at the veterans’ dance, Sam never expressed any romantic interest in Tom. Plus, she just graduated from high school and Tom appears old enough to be her father. Not only was this part of the story random, its inclusion in the film was unnecessary, especially since it has no impact on the plot.

The “slice of life” parts of the story: As I’ve been saying in this review, Sam wants to learn more about her father who served and died in the Vietnam War. This part of the story, as well as the parts exploring the veterans’ perspective, was interesting. But those parts made up half the movie. The other half revolved around subplots that were more “slice of life”. When the story turned to the “slice of life” events, I found myself wishing the movie would go back to Sam learning more about her father or Emmett interacting with the other veterans. In fact, I think the movie should have primarily focused on those aforementioned parts of the story.

On-the-nose songs: The inclusion of songs in a movie can make or break a given scene. Sometimes, a song can be so on-the-nose, it doesn’t leave the intended emotional impact. This happened on more than one occasion in In Country. The opening lines of the Bruce Springsteen song, “I’m On Fire” are “Hey, little girl, is your daddy home? Did he go away and leave you all alone?”. This song can be heard on two occasions after Sam decides to learn more about her father, pointing out what the audience already knows. Earlier in this review, I brought up how Sam invites Tom to share a slow-dance with her, where they get a little too close for comfort. The song they dance to is Hank Williams Jr.’s “Ain’t Misbehavin’”, which narrates what’s happening on screen and foreshadows what’s about to come. That song paired with the events that unfold created a scene that left me uncomfortable.

Children holding American flags during a sunset image created by rawpixel.com at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/people”>People photo created by rawpixel.com – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

When I watch a movie, I sometimes imagine how the story would turn out if it was presented in a different way. One recent example is how Hallmark Hall of Fame’s Brush with Fate would have, in my opinion, benefitted by being presented as a multi-part mini-series. I feel similarly about 1989’s In Country. For the most part, the creative team behind the movie appeared to have their hearts in the right place. The honesty about war and its impact on veterans was included in the story in such a candid way, it showed the movie’s creative team understanding the significance of the subjects woven into the script. But this aforementioned honesty, as well as Sam’s search for answers about her father, should have been the film’s primary focus. Therefore, I wish this story had been a road-trip movie, where Sam, Emmett, and Mamaw go to visit the Vietnam Veterans Memorial in Washington D.C., with Sam learning about her father and important life lessons along the way.

Overall score: 6.1 out of 10

Have you seen 1989’s In Country? What’s your favorite film from 1989? Tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: You’ve Got Mail Review

On By 18cinemalane4 Comments

Every so often, I try to review a movie that has been recommended by one of my readers or a fellow blogger. It’s a wonderful opportunity when I can write about a recommended film for a blogging event. This is what happened when I joined the Everything Is Copy Blogathon! When I learned Rebecca’s, from Taking Up Room’s, event centered around the Ephron family, I realized no one had chosen You’ve Got Mail as their blogathon entry. Since the movie was recommended by Janis from Momshie Diaries, I found the perfect excuse to finally see the film in its entirety! You’ve Got Mail is far from the first romantic comedy (rom-com) I’ve talked about on 18 Cinema Lane. Several Hallmark Channel films have received their own review, ranging from terrible to the best I’ve ever seen. So, where does You’ve Got Mail rank among those Hallmark titles? Log in to this review to find out!

You’ve Got Mail poster created by Warner Bros.

Things I liked about the film:

Tom and Meg’s on-screen chemistry: An ingredient to a successful rom-com is casting an actor and actress who share strong on-screen chemistry. This ingredient creates an on-screen relationship that feels believable. In You’ve Got Mail, Tom Hanks and Meg Ryan portray Joe Fox and Kathleen Kelly; two literary business owners who have different perspectives on the world of bookselling. Yet, whenever they’re together, Kathleen and Joe share a spark between them, learning over time how they have more in common than they initially believed. The on-screen chemistry between Meg and Tom makes it feel like their characters have known each other for many years. It also helps how Tom and Meg brought a strong sense of likability to their characters. Even though Joe was a businessman who felt there was a time and a place for “big box stores”, his personality was more jovial than some of the businessmen who appear in a typical Hallmark Channel rom-com. Meanwhile, Kathleen’s personality was fun and fancy-free, trying to find a silver lining during autumn in New York City.

The set design: One of the conflicts in You’ve Got Mail was a bigger, chain bookstore affecting the business of a smaller, locally owned book shop. The interior design of the bigger bookstore was meant to imply how impersonal that store’s shopping experience was. But I actually liked the interior design of both stores! At the smaller book shop, the pale yellow walls paired nicely with warm wood shelves. With string lights circling near the store’s ceiling, the space itself felt cozy and quaint. At the bigger bookstore, white supporting columns, dark gray granite countertops, and shiny silver railings boasted a modern space that looked and felt heavenly. Quirky décor, such as a large, spinning silver globe and a replica of the Statue of Liberty reading a book prevented the store from being dull. Even the bookstore’s bakery section was promoted as a hip gathering space, a curved countertop with tall stools providing an area for readers to come together and enjoy each other’s company. Both spaces looked inviting and appeared photogenic!

The dialogue: The strength of dialogue can create or break a script. While the dialogue can be elevated through delivery, its believability and memorability lie in the writing talent. Within You’ve Got Mail, there was dialogue that I thought was cleverly written! One example was when Kathleen and Joe met each other at a restaurant. Using advice from her anonymous pen pal, Kathleen shared what was on her mind with Joe. Frustrated by Joe’s inability to see how his bookstore prevented other bookstores from thriving, Kathleen told Joe his brain was replaced by a cash register and his heart was taken over by the bottom line. While her statement was meant to be insulting, Kathleen’s quote was an eloquent way of illustrating how she saw Joe. Her quote also stressed how her love of literature helped her choose words that made her opinion sound mature and intelligent.

The Everything Is Copy Blogathon banner created by Rebecca from Taking Up Room

What I didn’t like about the film:

Forgettable secondary characters: In a rom-com, the main male and female character are not the only characters who can make a story work. A collection of secondary characters who interact with the protagonists can add humor, wit, and even thoughtful insight to the film. The story of You’ve Got Mail revolved so heavily around Kathleen and Joe, all of the movie’s secondary characters seemed like an afterthought. This group of actors and actresses did a good job with the material they were given. But the characters they portrayed weren’t as 3-dimensional as Joe and Kathleen. Some rom-coms will give at least one secondary character a subplot. However, no subplots were given to the secondary characters in You’ve Got Mail. Even when there was the possibility for a secondary character to receive their own piece of the story, this opportunity didn’t lead anywhere. It felt like You’ve Got Mail was the world according to Joe and Kathleen, where every other character was simply given permission to exist in it.

The protagonists’ love interests: I have seen some Hallmark rom-coms where the main male and female characters are already in a romantic relationship, only for these characters to end their previously established relationships in order to fall in love with each other. This trope is not limited to Hallmark’s films, as it appeared in You’ve Got Mail. At the beginning of the movie, the story established Kathleen is living with her boyfriend, Frank. Meanwhile, Joe is considering proposing to his girlfriend, Patricia. Because You’ve Got Mail is a rom-com, there is a greater likelihood Kathleen and Joe will fall in love. I’ve also mentioned in this review how, in my opinion, Tom and Meg had strong on-screen chemistry. Therefore, Joe and Kathleen’s previously established relationships feel pointless.

The run-time: You’ve Got Mail has a run-time of one hundred and twenty minutes. This is almost the same run-time as a typical Hallmark movie. Like I mentioned in this review, none of the story’s secondary characters were given a subplot, as the film revolved heavily around Joe and Kathleen. You’ve Got Mail’s plot includes anonymous pen pals desiring to connect in the real world. With the story being so simple and easier to follow, the movie’s run-time feels excessive. Some scenes are drawn out to likely satisfy the film’s run-time. In my opinion, You’ve Got Mail should have shown the anonymous pen pals meeting sooner. That way, they could not only help each other with their professional dilemmas, but the story itself could have become a contemporary retelling of Pride and Prejudice.

Envelope with hearts image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-photo/hearts-and-pink-envelope-for-mothers-day_1950691.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/love”>Love image created by Freepik</a>. Image found at freepik.com.

My overall impression:

Before and after the release of You’ve Got Mail, rom-coms have found their place in the world of film. Like any genre, there’s a variety of titles, some good and some bad. For me, You’ve Got Mail falls somewhere in the middle. The main romance was well written, directed, and acted. This combination allowed the protagonists to form a relationship that felt believable and charming. While the dialogue and set design certainly helped this picture, it wasn’t enough to outweigh the film’s flaws. From none of the secondary characters receiving their own subplot to the run-time, these things held the movie back from being a stronger story. With the film titled, You’ve Got Mail, and with the anonymous pen pals exchanging emails and instant messages, I’m surprised none of the story’s bookstores brought up the possibility of selling their merchandise online. In fact, I’m shocked the internet wasn’t a bigger topic/theme in this movie! I would say that was a missed opportunity. But with the film itself being just fine, I guess I don’t have much to complain about.

Overall score: 7.2 out of 10

Have you seen You’ve Got Mail? What’s your favorite rom-com? Tell me in the comment section below!

Have fun at the movies!

Sally Silverscreen

Take 3: Space Jam (1996) Review

On By 18cinemalane1 Comment

Some of my readers will know Michael Jordan as the reason why they cared about the Chicago Bulls. Other readers are familiar with Michael because of the infamous meme where Michael says in a calm and friendly way, “Stop it. Get some help”. Then there are my readers who are fans of Michael because of his appearance in the 1996 movie, Space Jam. Michael’s involvement in this film is one of the reasons why I’m reviewing it, as “movies where a star is playing themselves” is June’s theme for Genre Grandeur. Another reason why I chose to write about Space Jam is how I don’t often receive the opportunity to talk about animated films on 18 Cinema Lane. While I am familiar with this movie and what it’s about, I had never seen it in its entirety before. Now that I have checked out Space Jam, I can now give an honest opinion about it. So, sit back in your courtside seats, as this review is about to begin!

Space Jam (1996) poster created by Warner Bros. Family Entertainment, Northern Lights Entertainment, Courtside Seats Productions, and Warner Bros.

Things I like about the film:

The animation: In the 1990s, a trend in animation was the adoption of bright colors. Whether it was the Disney Renaissance or the first creatures in the world of Pokémon, bold hues and color schemes dominated both big and small screens. Space Jam follows this trend in various ways. One great example is the locations in the film’s animated world. There is a shot in the movie of the gym where Michael and the Looney Tunes train for their upcoming basketball game. The gym itself boasts a bright coral exterior, with the building set against a blue sky and a green, grassy lawn. The film’s colors emphasize the fun and energetic nature of it’s animated landscape. They also provide pops of color that make animated characters and their world interesting to look at.

Before the release of Space Jam, the Looney Tunes were an animated collection with their distinct histories, stories, and even voice acting performances. When bringing these characters into one overarching story, it could have been difficult to adapt them from one medium to another. Yet, every Looney Tunes character featured in the movie looked, sounded, and acted consistently with their pre-established shows. This crucial creative decision allowed the story to maintain a strong sense of continuity. It also gave audience members of all ages an opportunity to enjoy watching the Looney Tunes and their antics.

The messages and themes: At the beginning of Space Jam, Michael Jordan decides to take a break from the world of basketball to pursue a baseball career. According to the movie’s introduction, baseball is a sport Michael cared about. Yet, joining Major League Baseball (MLB) was a new direction in Michael’s career. His baseball endeavors aren’t as fruitful as his basketball endeavors. Yet, there are people surrounding Michael who are supportive of his decision. What this part of the story showed me was how one shouldn’t be afraid to try new things. Even when someone has a forte and has achieved their full potential, it could be beneficial to expand their horizons. That message can be a valuable lesson for younger viewers and a message older viewers can appreciate!

The humor: Animation and humor typically go hand in hand. Space Jam is no exception, as there were moments within this story I found genuinely funny. One way humor was incorporated into the film was through the dialogue. After Bugs Bunny and Daffy Duck retrieve Michael’s basketball attire, Daffy said they should name their team ‘The Ducks’. Bugs then responds by asking “Why would a Mickey Mouse corporation name their team ‘The Ducks’”? This question was meant to poke fun at Disney’s program, The Mighty Ducks. What added to the humor of this conversation was how the dialogue fit the personality of these characters.

Image by viarprodesign on Freepik

What I didn’t like about the film:

Parts of the story that don’t make sense: In Space Jam, several basketball athletes have mysteriously lost their athletic abilities. This causes concern amongst the league’s other basketball teams. It gets to the point where the basketball season ends early. Here’s where the story doesn’t make sense: the film shows the National Basketball Association’s (NBA’s) season taking place at the same time as the Major League Baseball’s (MLB’s) season. A typical MLB season will take place between April to October, while the NBA runs their season from about fall to early summer. The only time these leagues’ schedules overlap is when the NBA Finals happen. With all that said, the basketball season in Space Jam would almost be over, with the Finals on the horizon. Yet, none of the characters bring up the Finals. This is just one example where the story doesn’t make sense.

A disjointed story: As I just mentioned, some basketball athletes have mysteriously lost their athletic abilities in Space Jam. Meanwhile, the Looney Tunes recruit Michael Jordan to compete in a basketball game in space. Because Michael spends most of the movie in the animated world, his story and the story of the basketball athletes feel like two separate stories, with a very loose connection to one another. When the film goes back and forth between the stories, the transitions are abrupt, with little segue provided. These creative decisions led Space Jam to feel disjointed.

The underutilization of Lola Bunny: Lola Bunny has found a place for herself in the world of Looney Tunes. From what I remember, she was prominently featured in Space Jam’s marketing. Yet in the movie, prior to the basketball game itself, Lola appears in only two scenes. Her first appearance took place forty minutes into an hour and twenty-seven-minute film. I’m unsure when Lola made her debut in the Looney Tunes universe. But if Space Jam was meant to be her introduction, I was disappointed by how unceremonious it was.

Collection of white rabbit images created by freepik at freepik.com Hand drawn vector created by freepik – www.freepik.com

My overall impression:

There are two categories for films that are products of their time; those that are dated on arrival and those that serve as a visual time capsule for when the movie was released. Space Jam belongs in the latter category, presenting a slice of the ‘90s through a combination of animation, athletics, and intergalactic silliness. Speaking of the animation, I was surprised by how the character designs, background designs, and blend with live-action mostly aged well. Though innovative at the time, this blend serves as an example of the creativity ‘90s animation has to offer. It was also interesting to see Michael Jordan’s career incorporated into the story, showing the audience how anyone, even the most celebrated of athletes, can try new things. Space Jam is, in my opinion, a fine film. Even though I won’t reflect on this movie as fondly as other films, I am glad I finally saw it in its entirety.

Overall score: 7.1 out of 10

Have you watched Space Jam? Which animated film from the 1990s do you like? Tell me in the comment section below!

Have fun at the movies!

Sally Silverscreen