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NYPD policeman Nick Spitz (Adam Sandler) can't quite pass the detective test for the third time and hides it from his wife Audrey (Jennifer Aniston). She pushes him to go on an European vacation. She sneaks onto first class and encounters Viscount Charles Cavendish (Luke Evans) who invites the couple to a family gathering on his yacht. The family patriarch and Charles' uncle Malcolm Quince (Terence Stamp) announces that he's leaving his fortune to his new wife Suzi. He is murdered before he signs the new will. It's a wild weekend of Clue characters and it's a murder mystery. Inspector de la Croix immediately sees the Spitzes as his prime suspects and Nick has to solve the case with his wife.I actually like Sandler and Aniston as a bickering middle age couple. I think they've found their sweet spot at this stage of their careers. They just need to make sure that they have a good story. This is almost there. I actually think that this would work better with a straight Agatha Christie murder mystery. Sandler and Aniston could be a new mystery solving team. They're the new Hart to Hart if it's done right. That's what's missing from this movie. The clues comes out of nowhere at the end and nobody cares about discovering the killer's identity. The chemistry is good and these characters could be good as long as the writing is good.
A treat for the eyes and exercise for the brain, \"Dial M For Murder\" is Hitchcock's second \"drawing-room perfect murder\" movie, after \"Rope\", the latter a darker and more sinister affair altogether. Hitchcock himself in interviews played down the quality of this movie, amongst other other things indicating that it was treated almost as a warm-up for the more ambitious \"Rear Window\" which immediately followed it in his career.However. it actually has a lot going for it, being beautifully shot in luminous colour, extremely well acted in almost every role and peppered throughout with those eye-catching and brain-satisfying flourishes which so distinguished the director from the rest.Yes, it is very set-bound, betraying its stage origins and likewise very talky, especially on exposition, but it keeps the viewer alert throughout and delivers a neatly satisfying conclusion. I do wish Hitchcock could have done better with his back-projection unit (an old-fashioned, jarring trait he still hadn't grown out of by \"Marnie\" some 10 years later) and I occasionally found the constant too frivolous background music an intrusion, but it's well paced throughout, helped considerably by an on-form cast.Ray Milland is excellent in a kind of darker Cary Grant type persona, Grace Kelly (who'd want to murder her) goes convincingly from loveliness to wretchedness while it's pleasing to see Robert Cumming to the fore, recalled by Hitch for the first time in over a decade (since \"Saboteur\" in 1942). The actors playing the would be murderer and nosey police inspector are just fine too.About those flourishes..., perhaps the most famous being the changing spotlight on Grace Kelly's doomed face as her trial is condensed into just a few terse minutes and of course the murder scene itself, even if one can't imagine her extended stabbing gesture being strong enough to cut through Swann's jacket far less kill him stone dead, but I also enjoyed the raised tracking shot looking down on Milland as he explains his plot to Swann and particularly the parting shadows of lovers Cumming and Kelly at Milland's unexpected approach.Yes, it's old fashioned Hollywood movie-making, but it's old-fashioned Hollywood movie-making at its best and in my opinion an unjustly overlooked effort from the Master.
The star of this film is Ray Milland, though Grace Kelly, Robert Cummings and John Williams are there to provide support. The marriage between Milland and Kelly is on the rocks, though neither is letting this on to the other. Grace has been cheating on him and Milland, who knows this, is planning on killing her. Why kill her instead of a divorce Well, Kelly is wealthy and Milland wants to remain in the lifestyle to which he's become accustomed.Originally Milland's plan is just to have her killed by an old college associate who's gone bad, but when Grace miraculously survives this attack, his plans quickly change and he tries to make it look like she murdered the assassin. While clearly self-defense, Milland is very clever and seems to have thought of just about everything in order to get her convicted of murder. However, the plan is perhaps too clever and too well thought-out and in the end, there is a terrific confrontation with the police investigator and Milland's plans unravel.Probably the most memorable and amazing scene in the movie is the scene where Kelly kills the would-be murderer. It was done very vividly--particularly when he fell backwards--further driving the scissors into his body. This was a brilliant scene and it made me wince. In fact, throughout the film, there were many well-constructed and executed scenes that make it obvious the script writers and director were in top form. While not among his most famous films, this is one of Hitchcock's better movies and he has a very deft hand in creating a fascinating and literate murder mystery.
In recent years, Hirokazu Koreeda has been among the most exciting and interesting Japanese filmmakers. In movies such as \"Like Father, Like Son\", \"Our Little Sister\" and \"Shoplifters\", he tells marvelous stories about seemingly ordinary and non-cimematic sitations....stories about real people and about problems which you rarely hear about in Japanese movies. Here, in a bit of a change of pace, Koreeda takes on a story about murder....and it's complex, strange and ultimately worth seeing. Sadly, however, the pacing is glacially slow...and many viewers ultimately might give up on the film before its conclusion.The story is about a group of lawyers who have been a pretty hopeless case to defend. It seems a man has pled guilty to murder and burning a corpse...and he's done little to help himself avoid the death penalty. In addition, his story is very inconsistent and keeps changing. Inexplicably, instead of just going through the motions as most lawyers would do in a case like this, Shigemori keeps digging to learn exactly what did happen and why...and, not surprisingly, it's not what the case originally seemed to be.The story is slow....very, very slow. For non-Japanese audiences, this slowness makes watching the film with subtitles a bit tough...and I found myself drifting off on occasion. My advice is to stick with it....the twist is shocking and exposes some issues rarely addressed in films...especially Japanese films. Not surprising, as Koreeda seems to enjoy addressing topics which other Japanese filmmakers avoid.
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