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As if there was any doubt that An American in Paris was nothing but an excuse for some fabulous singing and dancing, the film wraps up with a spectacular 18-minute ballet sequence. It’s got only the vaguest connection to plot or character, but it’s a gorgeous piece of filmmaking.
The Life of Emile Zola is a curiously uninvolving biopic — curious because the second half of the film operates at a distance from its professed subject, exchanging his for another man’s story.
What a difference it makes to a movie when it’s real actors — as opposed to, say, studio executives’ personal trainers — blowing things up. The Fugitive stood out in the action movie genre by drawing its energy from the intense performances from both Harrison Ford and Tommy Lee Jones (Oscar winner for a popcorn flick!). And now Ronin shows just how smart car chases and gunfights can be when thinking actors are the ones behind the wheel and behind the trigger.
An enjoyable 90 minutes, but it never approaches the so-beautiful-you-have-to-cry sequences that have become Disney’s trademark.
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