Most of the action is decent, and the two leads are both guys I really like, but this film holds the distinction of being one of the least plausible scenarios* I've ever seen. Like, truly, astonishingly unbelievable.
Of course, it's a real like documentary compared to its first sequel.
(*Supposedly Real Life Division. I'm aware there are films with magic and spells and stuff, got it. But this makes Die Hard and Taken look like the evening news)
After successfully conquering my fear of Fellini this year, it has come the time to beat the Bergman phobia. Earlier in the year kindly Letterboxder’s offered neophytes advice on what Bergman’s to tackle first, and which to wait on until you built up a sufficient appreciation. Apparently my wife didn’t see those lists, and we inaugurated the 30 Days in May challenge with Persona.
When my wife and I…
This could very well be one of the funniest laugh out loud films of all time. There are more laughs in this film than in the entire Zucker/Abrams/Zucker amalgam, and this one's got a surefire cast and a great cynical undertone.
Michael Caine leads the pack as an exhausted director who can't seem to get his wacky cast together in time for their nonsensical play's opening performance. The late John Ritter, in one of his best roles, appears alongside with Christopher Reeve, Julie Hagerty, Mark Linn-Baker, and Carol Burnett, forming a witty, delightful, rambunctious ensemble.
The main tragedy in this is that Keiko's limitations are entirely artificial. They are imposed. They are consequences of a male dominated society, of objectification, of callousness. Her ability is implied throughout the film; she is portrayed as a woman who would be great at running a bar or doing more or less anything, if she just had funding. And her options for funding are entirely dominated and decided by men, all of whom want things from her they have…
An excellent adaptation. If you are a woman who struggled with raising small children, you feel what Leda feels even without the film having to show you. It's an interesting trick that puts some viewers (like me) so directly in Leda's shoes as we watch another mother with her child that it can almost be too much.
I think readers of the novel have a slight edge since it is such an interior book and the movie makes you work…
Like being seduced in a different language by someone who seems like their heart is anywhere, and with anyone else, “The Touch” is Bergman at his most artistically and sexually vacant.
“Touch” is remarkable for its casting of Elliott Gould, the first non-Scandinavian actor in a leading role within a Bergman picture. While Gould’s sweaty sensuality would seem to make him an idea pick for an emotional Bergman Ménage à trois, he ends up feeling like a square third wheel. …
Catching up with Bergman 16/20
Elliot: Hi. I'm Elliot Gould. Is this a Bergman movie? It seems I'm in Sweden.
Bibi: Oh, yes hello, we're two Swedish actors who have worked with Ingmar for more than twenty years, let's speak English for a while
E: Okay, um. Here's a line for you, Bibi: I love you
B: You do?
B: I probably love you too
E: That's fine.
B: I mean I'm not sure. I'm pregnant?
Wow. This is about as bloated as a film can get while still being watchable. It borrows so heavily from earlier entries that one could mistake the synopsis for parody. It even has the (timely) farcical Star Wars battle!
Lois Chiles has zero chemistry with Moore, though, again, her character's name would fit perfectly in Austin Powers.
Just like in the previous entry, I have to applaud the production team, as these setpieces are stunning.
Favorite part: I know it was a little forced and simplified, but the redemption of Jaws was a real highlight for me. Cheers big guy.