Dexter is one of those GREAT stories that you just cannot seem to stop watching. Even when it gets a little too gory for my taste, I find myself unable to turn the TV off. Most of this, I would say, could be attributed to the writing. All of the characters are VERY well-structured. Not that this show is realistic…which is really is not…but at least the characters (for the most part) are. Dexter himself, played by Michael C. Hall, is a loveable loser kind of guy…at first. And even when he shows us his darker (MUCH darker) side, we still see him as the perfect underdog. I mean, the guy kills people…yes, only BAD people…but still. He’s a killer. He’s serial murderer. And I still find myself drawn to him. Go figure. Season two seemed even sharper (no “knife” pun intended) than the first…so I have high hopes the remaining seasons of this show will continue to be top-notch.
Posts Tagged: murderers
When I first saw this one years ago, I thought it was too much of a farce…too over the top…too silly. But, re-watching it, I am able now to see it’s fine details as one of America’s great broad comedies. Cary Grant is at his wackiest here…as the nephew of two matronly ladies who have begun an unusual pastime…murdering lonely old men and having them buried in the basement. We’ve all seen (and loved) Grant do screwball…but this is pretty much as slapstick as comedy can get. He’s physical and very expressive…perfect for this role as the befuddled nephew of these two crazy killers. Directed by Frank Capra, I think one of the reasons this one took a while to sink in is because it’s almost TOO over the top. But, I guess as I’m getting older, I find the need for more and more comedy. And this one will sure satisfy that need!
By far, Harrison Ford’s finest performance…here as a Philadelphia cop who loses his partner in a shooting where the only witness is a little Amish boy. With his mother at a train station, the boy is in the bathroom at the same time the cop is shot…peering through the stall door, getting a good look at the shooter. Knowing the boy is in considerable danger, Ford’s detective tries hiding the boy and his mother in Philadelphia…but when that doesn’t work, he is forced to take them back home to Amish Country and stay with them for protection (and because he gets shot himself). Of course, this leads to some issues…mostly having to do with the mother’s father-in-law who has more than a few suspicious about this rough-and-ready city cop. Though the mother is recently widowed, the problem with Ford’s presence on the farm is not so much that he’s a man…but that he’s “English,” meaning not Amish. Everyone is on top of their game here…especially Ford who starts off as a smart, tough cop and has to somehow amend his characteristics to fit in with the Amish.
Not for the faint of heart, this film is one of the funniest comedies I had seen in years. Frances McDormand won an Oscar for playing very pregnant Marge Gunderson…a fabulous character who is most definitely the sharpest person in the film (though that is not really much of a compliment). Marge is a police officer in Brainerd, Minnesota and she gets involved in an investigation involving kidnapping, brutal murder and theft. The script is sharp and hilarious…and the performances are all right on target. But, be warned…it is a DARK comedy. People die. People kill people. This is the Coen Brothers, after all.
A riotous, toe-tapping adaptation of the Kander-Ebb Broadway musical that will keep you dancing and singing along from start to finish. Told through the eyes of wannabe star Roxie Hart, the movie’s tone is much lighter and more fun than the Broadway musical, which spends more time on the dark side of Roxie. Great performances by Renee Zellweger as Roxie and Catherine Zeta-Jones as Roxie’s nemesis Velma Kelly but that stand-out performance is by Richard Gere, who is just phenomenal as the conniving lawyer Billy Flynn. If you’re not still humming the songs of this Best Picture winner a day later, there’s something wrong with you!
This movie is no Match Point but I found it to be a good thriller that uses family loyalty as the catalyst for a series of wrongdoings. Like Match Point it is a drama, without any hint of Allen’s usual comic banter…also no hint of Allen himself among the cast (also reminiscent of Match Point). Cassandra’s Dream is about two brothers…both with different goals and different lifestyles but who both could need some cash to make their lives better. Enter a rich uncle with a nefarious proposition and the moral dilemma of the story begins. This reminded me a little of Edgar Allan Poe’s The Tell-Tale Heart story about a man who just cannot go on living with what he has done. And like all good thrillers, this one leaves you hanging until the very end. Not Allen’s best (watch Match Point for that — can you tell already I liked that one?) — Farrell and McGregor are not that believable as brothers and Farrell is too over-the-top with his emotions and McGregor is not convincing as a struggling Londoner — but, overall, it’s an entertaining, suspenseful thriller that will keep your nails bitten and your tush at the edge of the seat.
This is the classic example of film noir….more than Otto Preminger’s Laura…more than anything else of the era. Why? Well, because this one’s got everything. In a big way too….lust, murder, the perfect femme fatale, the perfect fall-guy, the perfect everything. Based on the novel by James M. Cain (who also penned The Postman Always Rings Twice and Mildred Pierce) and directed by Billy Wilder, Double Indemnity is a thriller from start to finish…you’re always wondering and questions and getting closer and closer to the edge of your seat. Fred MacMurray plays a sarcastic insurance salesman who catches Barbara Stanwyck’s eye when he goes to try and sell her husband some insurance. Stanwyck is unhappily married and MacMurray knows it. The one thing in their way…her husband. Like in Postman, husbands are always expendable. Stanwyck is simply the best film femme fatale ever. She’s mean without being hard. She’s cool under pressure without being too sentimental. Stylized and perfectly cast, this Wilder masterpiece set the standard for film noir films…and dared others to try and top it…which, in my opinion, no film ever did.
Honestly, Rope is far from my favorite Hitchcock film. It is slow-ish and more “talkie” than most other Hitchcock movies…relying more on dialogue than action for its suspense. But, after viewing it again recently, I found that even one of the less satisfying films by the preeminent thriller director Hitchcock is STILL better than most of the thrillers made today. The story is loosely based on the Leopold and Loeb murderers…the two University of Chicago students who decided commit the perfect murder to prove they can because they are intellectually superior humans. So, at the beginning of the film, a murder takes place. And the rest of the film is a will-they-get-caught-or-won’t-they as they entertain guests (including the victim’s parents!) in the same room where the body is hidden. This is one of the films Hitchcock used as an experiment. It’s his first film in color and, like Dial M for Murder’s attempted use of 3-D, the director tries something he’s not done before here. He uses ONLY nine takes to film the almost hour and a half film. These long takes, on their own, do a great job of building to and adding to the suspense. We almost feel like we’re right there…in the apartment…one of the guests watching this story unfold. So, instead of choosing one of the more lame and overly-predictable thrillers made today, try this one. I cannot say it’s Hitchcock’s best but it sure beats most everything else!