Jim Morrow

Jim Morrow

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Hi, I like movies. Quite often they're better than real life. Thank you for following and commenting.

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  • Sunset Boulevard

    Sunset Boulevard

    ★★★★★

    Nothing else even comes close to Wilder's cinematic poison pen aimed at Hollywood's glamourous false face. As cynical and depraved as “The Bad and the Beautiful,” or later entries like “Day of the Locust” and “The Player” portrayed the dream machine, Wilder has them all whipped at the starting gate, and utterly vanquished by the last lap. Not bad considering the quality of the competition. You can enjoy it as noir, as a melodrama, or as a satire because it…

  • if....

    if....

    ★★★★

    This was probably most effective as social comment in 1968, during the student protests and general strife in France, Great Britain, and West Germany and the Prague Spring. It's still great surrealist cinema, and it introduced us to Malcolm McDowell as Mick Travis, so it's not a relic, just a film that happened to fit a specific time particularly well. When I first saw it there was a lot of discussion around Anderson's switching back and forth from color to…

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  • I Care a Lot

    I Care a Lot

    ★½

    I don't care at all.
    Diane Wiest gets the star.
    Dinklage was mainly wasted.
    Pike did this much better in Gone Girl.

  • On the Waterfront

    On the Waterfront

    ★★★★★

    I don't know what else can be said about this, aside from it being one of the most incredible examples of cinematic art ever filmed. Part Italian Neo-realism, part Hollywood drama, great New York location shooting, fabulous script, absolutely jaw dropping acting, and an amazing score. I think it's safe to say that this is like the Continental Divide of American films. There's American films before On The Waterfront and American films after On The Waterfront. Everything and everyone in…