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Eugene Archer

Eugene Archer's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Reviews

Movies 온라인카지노추천 Shows
Ride the Wild Surf (1964) 80% “Fabian, Tab Hunter and Peter Brown are also surprisingly agreeable. Outside the water, they match with Shelley Fabares, Susan Hart and Barbara Eden, but these activities are kept to a sensible minimum. So long as they stay in the surf, everyone is happy.” – New York Times Mar 14, 2024 Full Review The Night of the Hunter (1955) 93% “[Director Charles Laughton] is experimenting with the medium and, if he fails more of often than he succeeds, this does not make his attempt less admirable. The Night of the Hunter is frequently bad, but it is never less than interesting. ” – Film Culture Jun 7, 2022 Full Review Rebel Without a Cause (1955) 93% “Rebel Without a Cause settles a number of questions regarding Dean's capacities as an actor. Working more or less on his own, without benefit of Kazan's rigid control, Dean gave a performance which dominated the film.” – Film Culture Jun 7, 2022 Full Review Oklahoma! (1955) 87% “Its prospective audiences face a long and slow three hours (with intermission) which are completely lacking in pace or style.” – Film Culture Mar 29, 2022 Full Review Trial (1955) “This nonsense is filmed with a great deal of technical skill.” – Film Culture Mar 29, 2022 Full Review The Deep Blue Sea (1955) “The film is expensively produced in Cinemascope and color, but the elaborate treatment seems unnecessary. Anatole Litvak’s direction is professional but uninspired.” – Film Culture Mar 29, 2022 Full Review Somebody Up There Likes Me (1956) 86% “There is nothing in Wise’s career to indicate the cinematic genius commonly associated with Stevens or Ford, but there is much to suggest that he is a director capable of making good films if he receives the opportunity to do so.” – Film Culture Mar 28, 2022 Full Review The Proud Ones (1953) “[Michéle Morgan] plays the sensual Nellie with complete authority, and Gérard Philipe complements her admirably as the doctor. These performances are beautifully balanced within the framework of the film, to create a definitive existentialist romance.” – Film Culture Mar 28, 2022 Full Review A Kid for Two Farthings (1956) 67% “An outstanding film, which will be remembered as a classic of its genre.” – Film Culture Mar 28, 2022 Full Review I Vitelloni (1953) 100% “As in all truly creative works, however, the significance of Fellini’s achievement goes beyond the area of form. In its final impression, Vitelloni distinctly evokes the image, not of art, but of life.” – Film Culture Mar 28, 2022 Full Review Emil and the Detectives (1964) 83% “[Director Peter Tweksbury] has kept the kiddies from gushing too coyly, suppressed the mugging of a comic trio of thieves, photographed the fresh Berlin setting in effective color, and juxtaposed suspense and wit with a nice, bouncing pace.” – New York Times Dec 2, 2020 Full Review Johnny Cool (1963) 50% “[Sammy Davis Jr., Joey Bishop, and Mort Sahl] have been dragged in as a desperate attempt to camouflage a low budget melodrama that would otherwise be remarkable only for its dogged avoidance of anything unusual.” – New York Times Mar 12, 2020 Full Review The Art of Love (1965) 0% 1.5/5 “Nobody demands probability from a farce, but this one keeps its hapless actors so busy explaining what is going on that they have no time to stay for laughs.” – New York Times May 6, 2013 Full Review Bikini Beach (1964) 40% 1/5 “A horrible juvenile comedy in which surfers fight cyclists and convert their elders to the pleasures of the bronzed physique.” – New York Times Apr 2, 2012 Full Review Before the Revolution (1964) 93% 4.5/5 “Here is a new talent of outstanding promise.” – New York Times Dec 7, 2007 Full Review Mafioso (1962) 96% 5/5 “Alberto Lattuadas incomparable, half-forgotten 1962 crime comedy-travelogue is at once a giddy mixture of farce, satire and opera buffa.” – New York Times Oct 21, 2006 Full Review Black Sunday (1960) 88% 2/5 “It will leave its audiences yearning for that quiet, sunny little motel in Psycho.” – New York Times May 10, 2005 Full Review 633 Squadron (1964) 29% “Cliff Robertson, an intelligent and quietly competent leading man, lends a measure of dignity to the overblown activities, with no assistance from the dialogue.” – New York Times May 10, 2005 Full Review House of Usher (1960) 83% “Under the low-budget circumstances, Vincent Price and Myrna Fahey should not be blamed for portraying the decadent Ushers with arch affectation, nor Mark Damon held to account.” – New York Times May 10, 2005 Full Review The Savage Innocents (1959) 71% 2.5/5 “His strange, disturbing drama will leave most of its viewers dissatisfied and some outraged, but few will remain indifferent.” – New York Times May 9, 2005 Full Review The Thin Red Line (1964) 77% “Under the sincere but inadequate handling of Mr. Marton, best known for his chariot race in "Ben Hur," Ray Daley and Jack Warden are unable to explore the possibilities of these roles.” – New York Times May 9, 2005 Full Review Bandits of Orgosolo (1961) 100% “Aided by clean black and white photography and a subtle, evocative musical score, the film marks a debut of considerable promise for its young director.” – New York Times May 9, 2005 Full Review Diary of a Chambermaid (1964) 88% 2/5 “Sadly, the intervening decades seem to have weakened Mr. Bunuel's powers. His new adaptation of Octave Mirbeau's Diary of a Chambermaid suffers in comparison with the strange but memorable version Jean Renoir did with Paulette Goddard in 1946.” – New York Times May 9, 2005 Full Review Blast of Silence (1961) 83% 3/5 “Over-eager, unsuccessful, but worth watching.” – New York Times May 9, 2005 Full Review L'Age d'Or (1930) 89% 5/5 “Mr. Buuel and his co-scenarist, none other than Salvador Dali, have packed just about every-surrealist symbol they could think of into this rebellious epic.” – New York Times May 8, 2004 Full Review
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