Q: What's an example of a movie review?
An example of a movie review is here: The title says it all. "Tail Gunner Joe" was a tag given to the Senator which relied upon the ignorance of the public about World War II aircraft. The rear facing moving guns relied upon a latch that would prevent the rear gunner from shooting off the tail of the airplane by preventing the gun from firing when it pointed at the tail. When the Senator was practicing on the ground one day, he succeeded in shooting off the tail of the airplane. He couldn't have done that if the gun had been properly aligned. The gunnery officer responsible for that admitted, in public, before a camera, that he was responsible -- he had made the error, not the Senator. The fact that the film did not report that fact, shows how one-sided it is. This film was designed to do one thing, destroy the reputation of a complex person.

A much better program was the PBS special done on him. He was a hard working, intelligent, ambitious politician who overcame extraordinary disadvantages to rise to extraordinary heights. He made some mistakes, some serious mistakes, but shooting the tail off an airplane was not one of them.

The popularity of this film is due to the fact that the public likes simple stories, one=sided stories, so that they don't have to think.

Q: What's an example of a movie review?
An example of a movie review is here: Jean Seberg had not one iota of acting talent. Like all her films, 'Bonjour tristesse' suffers not at all from her looks (though she is perhaps the first of those modern women whom Tom Wolfe gleefully, accurately describes as "boys with breasts": publicists, of course, use the word "gamine") but suffers grievously from Seberg's dull, monotonous, killing voice. In all her films when had to play anger, Seberg played it with grossly audible, distracting, gasping panting between her monotonously droned verbalizations. Oy.

Preminger's adaptation of Francoise Sagan's breathlessly juvenile, fantasy soap opera plot is noteworthy only for his lush cinematography - but then that's difficult to funk on the photogenic French Riviera, and perhaps for his apt, but certainly not groundbreaking, employment of black & white for the present day scenes from which Seberg's monotone narration delivers us to the flashed-back-to color past.

Juliette Greco has a brief moment, as a nightclub chanteuse in the black & white spotlight, delivering in smoky Dietrichesque voice the bleak existentialist lyric of the title song. This moment is nowadays, in retrospect, more than a wee bit drole. Except, of course, if you're French - particularly if you're a French "68-er" longing for the glorious days of the barricades roundabout the Sorbonne - and your kids riot to retain the lifelong sinecures which have blighted and emasculated France's economy: then you still believe in Sartre and Foucault and all such arcane, irrelevant theorists.

David Niven has the hardest role, having to play with sufficient gusto an aging hedonist who's yet to grasp that life isn't all about Sagan's teenybopper notions of a hip, cool, swingin', "mon copain!" Papa. Deborah Kerr delivers her usual, consummately professional presence, convincingly playing the woman who suffers undeservedly Seberg's spiteful teenaged snot-nose jealousy (fulfilling Sagan's shallow teen fantasy of the Classical theme of "there can be only one Queen Bee in the hive"); in fact, to Kerr belongs this film's sole great and memorable on-screen moment.

The dialogue is unnatural - I agree with an earlier reviewer who said that it sounds to be "badly translated" from French; combine the unnatural scripting with Seberg's incomparably dull, unendurable monotone and you can save that Valium for another night. Atop all that the ineptly synched post-production voice dubbing is, almost throughout, obvious and thus much more than irksome: this is especially true of the dubbing for Mylene Demongeot because it spoils her otherwise very pleasing dumb blonde performance.

Hunky Geoffrey Horne gets the short end of the stick here - a very good looking young man who also suffered from a less-than-lovely, uncinematic voice which, when paired with Seberg's drone, yields unconvincing scenes of puppy love. (Horne was, shall we say, merely adequate in 'Bridge On the River Kwai,' perhaps because his end was held up by those great cinema pros William Holden and Jack Hawkins instead of being unsupported by the regrettably ungifted Seberg).

In sum 'Bonjour tristesse' is pretty to look at but it's shallow, immature soap: thin gruel with suds.

Q: What's an example of a movie review?
An example of a movie review is here: Bonjour Tristesse covers similar ground as 'The Member of the Wedding.' to wit, a possessive daughter tries to prevent a relationship from forming between a beloved family member and an interloper. While critics love 'Member of the Wedding,' I find Julie Harris to be a jumbo-drag and an adenoidal, scenery-chomping thespian in everything she's been in. This portrays irritating, rich idiots as in Last Year at Marienbad, but this time it's a travelogue.

In this Preminger movie sequences develop, but characters do not. For the first 30 minutes he's content to blur the father-daughter relationship between Seberg and Niven, making uncomfortable sexual readings possible. Once the conflict is introduced, Seberg can't deliver the depth the part requires. Kerr pulls rank and turns the film into 'Endless Love.' Seberg's vacuous narration, is like something out of Strange Interlude - it is not good. I really wish someone other than Niven was in his role. He spends so much time normalizing orthodox British behavior in all his movies, he never gets around to the character.

In the most memorable sequence, an evening out dancing becomes a free-for-all in a harbor. Bertolucci steals the entire scene for his empty exercise, 'The Conformist.' Kerr is on board to clasp her hands and portray another major pain (as in Black Narcissus, Night of the Iguana, King and I, Heaven Knows Mr. Allyson, Tea and Sympathy, etc. etc.). Really, Kerr was a horrible actress. I wish every movie with her could end with a fatal car crash, or even better, start with one.

People uncomfortable with ambiguity should avoid this.

Q: What's an example of a movie review?
An example of a movie review is here:
I don't understand how "2 of us" receive such a high rating... I thought that the first half dragged on and the second half didnt make sense, followed by an unresolved climax which was not worth the trouble. However, I did like Jared Harris' performance of John Lennon which was worth the wasted 2 hours.