Overrated movies

[Davidsbündlertänze]

No floating plastic bags, though. I bet Lynch regretted not having that after seeing AMERICAN BEAUTY

I doubt it. I thought that floating plastic bag sequence was the most irritating thing in the movie. You had to watch and watch and watch, with the director using everything short of semaphore to signal: “Look at this. This is amazing. This is really special.” Urrrggghhh.

dirac: LOL!! I was being sarcastic - I should have been clearer on that, sorry.

These are perfectly understated compared to Lynch's endless noir lamps on nightstands in hooker motel rooms in 'Inland Empire'. And they are all cleaned and polished, as if for collectors of noir memorabilia.

papeetepatrick: Yes, Lynch is never understated, but he's always Lynch - I never feel that he's faking it. Never watched IE, but I disagree though that Blue Velvet is more over-the-top than AB. It's extreme but I still enjoyed it. I bought into its weirdness. I thought it was gritty - not glossy. And I'm not a huge Lynch fan, btw; I just think that BV and AB share the same themes, but that BV is an artwork that is sincere in its strangeness.

[Davidsbündlertänze]

I could blather on at some length about Kubrick’s masterly use of visuals, sound, and music (nice change from John Williams, eh, Davidsbundlertanze?)

YES! haha, just thinking about a Williams-style score for The Shining - now THAT's a really scary movie.

Jack Nicholson and Shelley Duvall were quite strung out on at least 1 "substance" during the production, and I just thought Nicholson's performance was over the top.

lols! I watched that short documentary many times & I never thought that they looked drugged-up. I'll watch it again. And I love Nicholson's performance - perhaps it's over-the-top, although I think it's a matter of WHEN Jack [the character] goes crazy, as opposed to "WILL he go cuckoobananas??" So that's why I'm not bothered by his already slightly deranged demeanor from the beginning of the film.

I detested the final scenes of "Crash" and the "music" that accompanied those scenes. It viewed like a television movie. Also, it is difficult for me to respect any film that casts Tona Danza even in a cameo.

I've haven't watched CRASH, but your description makes me want to see it now! I feel like I could get a good laugh out of it.

I was a loyal viewer of Tony Danza's awful terrible chat show - it was so bad that I liked it. I miss that show. wow, i can't believe i just admitted that.

And the music, sound effects, and stunning cinematography made the apparitions and children's precocious behavior even more chilling and disconcerting.

yes, and I often hum/sing the song from the beginning of the film. Not the happiest song to sing, I know. I've always loved Auric's scores.

How many overrated movies are on that list, I wonder? I haven't gotten passed the Bs, but did see Beverly Hills Cop and Breakfast Club!

Ah! Those great 80s films. BREAKIN' and BREAKIN' 2: ELECTRIC BOOGALOO should be on that list. haha, thanks for the link!

[papeetepatrick]

Yes, Lynch is never understated, but he's always Lynch

Unfortunately, that's true. Total solipsism by now.

Never watched IE, but I disagree though that Blue Velvet is more over-the-top than AB. It's extreme but I still enjoyed it. I bought into its weirdness. I thought it was gritty - not glossy. And I'm not a huge Lynch fan, btw; I just think that BV and AB share the same themes, but that BV is an artwork that is sincere in its strangeness.

If you'll look back, you'll see I didn't compare Amerian Beauty to Blue Velvet, I didn't say it was more over-the-top than American Beauty, only that Inland Empire is all indulgence and solipsism. Anyway, however much I don't like much Lynch, I do like Blue Velvet a great deal, and think it's very funny. I also think 'Mulholland Drive' is very good.

Frankly, I don't see that Blue Velvet and American Beauty have much of anything in common. Blue Velvet is removed from the world, American Beauty isn't, it's in the world. They are therefore about two different worlds, at least as artistic worlds they are different, even if Lynch is also approaching the real world obliquely. Lynch is so solipsistic he has to create a new world, namely LynchWorld, before he can even begin. I think it works in 'Blue Velvet', but primarily I find it funny because Isabella Rossellini is so marvelous every time she appears (which isn't quite the case when she appears in 'Wild at Heart'.) I'm not a Pauline Kael fan, but I liked her phrase for Isabella in Blue Velvet--'a dream of a freak'. She's great with Dennis Hopper, with Kyle Machlachlan in bed (as in 'you cannn....feeleet'), and running naked up to the clothesline, and Hope Lange is the perfect jarring note with her 'blanket to cover her'. But Blue Velvet is much campier than American Beauty IMO.

By the way, I definitely don't think 'over the top' should be meant as a criticism nearly as often as it is. Some of the best things in the Arts are over-the-top.

[Neryssa]

Jack Nicholson and Shelley Duvall were quite strung out on at least 1 "substance" during the production, and I just thought Nicholson's performance was over the top.

lols! I watched that short documentary many times & I never thought that they looked drugged-up. I'll watch it again. And I love Nicholson's performance - perhaps it's over-the-top, although I think it's a matter of WHEN Jack [the character] goes crazy, as opposed to "WILL he go cuckoobananas??" So that's why I'm not bothered by his already slightly deranged demeanor from the beginning of the film.

Yes, do watch it again; there is a part where Duvall is not feeling so well and she sinks slowly to the floor. I don't remember if this event takes place after Kubrick loses his temper with her... She is clutching a bunch a kleenex as she "revives" herself

I detested the final scenes of "Crash" and the "music" that accompanied those scenes. It viewed like a television movie. Also, it is difficult for me to respect any film that casts Tona Danza even in a cameo.

I've haven't watched CRASH, but your description makes me want to see it now! I feel like I could get a good laugh out of it.

I was a loyal viewer of Tony Danza's awful terrible chat show - it was so bad that I liked it. I miss that show. wow, i can't believe i just admitted that.

I don't have cable anymore but I can only imagine him on a talk show. "Crash" isn't laughable; it is often moving. It just got on my nerves at times, especially the editing and the music [sic].

And the music, sound effects, and stunning cinematography made the apparitions and children's precocious behavior even more chilling and disconcerting

yes, and I often hum/sing the song from the beginning of the film. Not the happiest song to sing, I know. I've always loved Auric's scores.

Oh, I love that song! I want the music box... Did you know that it was actually performed by the maid "Anna" in the film? Quite haunting

Neryssa

[papeetepatrick]

And Shelley Duvall, normally an actor I can’t stand, is just right.

I thought so too, but think she is also perfect in 'Three Women'. Her scenes with Sissy Spacek are great.

[Davidsbündlertänze]

papeetepatrick:

If you'll look back, you'll see I didn't compare Amerian Beauty to Blue Velvet.

oops, sorry! i finally read the whole thread without jumping in between tabs...misread some stuff!

Frankly, I don't see that Blue Velvet and American Beauty have much of anything in common. Blue Velvet is removed from the world, American Beauty isn't, it's in the world.

I guess I'm strange b/c even though BV is bizarre and crazy, it seems more real to me than AB. haha!

By the way, I definitely don't think 'over the top' should be meant as a criticism nearly as often as it is. Some of the best things in the Arts are over-the-top.

Good point/agreed.

Cruise is popularly disliked these days, but he's dazzlingly brilliant when he's good, much more of a natural movie star than his ex-wife, whom I find ordinary.

Totally disagree about Cruise being a natural movie star. I don't understand his appeal. I thought he was awful in MAGNOLIA and EYES WIDE SHUT (Sydney Pollack rocked that film, imo.) Then again, those are the only two I've seen him in...I avoid his movies at all costs. As for his ex-wife Kidman: if she’s ordinary, then what does that make Katie Holmes?? I can't think of anyone more ordinary or with less charisma.

On the other hand, I hate all Woody Allen, including 'Annie Hall'. Have I achieved the hatchet-job spirit yet?

wow, that sounds like me! Although I do love HANNAH AND HER SISTERS. I always fast-forward all the scenes with Allen &/or Farrow. (and I also like MELINDA AND MELINDA b/c Allen is never in it....and I prefer Will Ferrell doing Woody Allen.)

Neryssa:

Oh, I love that song! I want the music box... Did you know that it was actually performed by the maid "Anna" in the film? Quite haunting

I didn't know that!!! That's very interesting. I always wondered who sang that song; i always assumed it was Pamela Franklin!

Yes, do watch it again; there is a part where Duvall is not feeling so well and she sinks slowly to the floor. I don't remember if this event takes place after Kubrick loses his temper with her... She is clutching a bunch a kleenex as she "revives" herself

I finally watched the documentary again yesterday, and i didn't think they looked like they were "on" anything. i've never been on a movie set, but i could imagine how stressful it could be w/ the long hours & hot lights, & especially with Kubrick as director. i'm naturally spacey and scatterbrained - maybe Duvall is like that also??

I don't have cable anymore but I can only imagine him on a talk show. "Crash" isn't laughable; it is often moving. It just got on my nerves at times, especially the editing and the music [sic].

I meant "laughable" pertaining to the Tony Danza cameo.

[dirac]

EYES WIDE SHUT (Sydney Pollack rocked that film, imo.)

He seemed to be the only person in the movie with a clue. I'm going to miss him very much as an actor and director.

Although I do love HANNAH AND HER SISTERS. I always fast-forward all the scenes with Allen &/or Farrow. (and I also like MELINDA AND MELINDA b/c Allen is never in it....and I prefer Will Ferrell doing Woody Allen.)

I tend to skip over the scenes with Max Von Sydow, who's the one who gets stuck with saying most of Allen's Deep Thoughts. Allen's scenes with Dianne Wiest are pretty funny, though. Did you see Husbands and Wives? Pollack is really great in that, too.

[Davidsbündlertänze]

Did you see Husbands and Wives? Pollack is really great in that, too.

I forgot about that film! Yes, I saw it and I liked it a lot, especially Pollack. Hmmmm...so it turns out that I like three of Woody's films, not two. I'm sure he'll be so happy to hear that.

[papeetepatrick]

There Will Be Blood easily wins my Most Overrated Film and Oscar-Winning Performance of all films I've ever seen. I see it as nothing more than a piece of performance art, with the closing 'I'm finished' revealing the whole sham of this one-dimensional burlesque, really just a kind of pornography. If Upton Sinclair's novel was worth turning into a film, this can't have been the solution, with Day-Lewis sounding like a hyped-up version of John Huston's character in Chinatown. Over-acting makes no sense when it's about a character of no complexity at all. Something like what Jeremy Irons did in 'Reversal of Fortune' is an example of really good over-acting, appropriate exaggeration. There was nobody and nothing in this except Day-Lewis, whose NYTimesMag ad in the form of a 10 + article goes right along with the whole pitch.

I also this week finallly got to 'American Gangster', which I think a fine film, tells a story in a contemporary way and has at least one human-size performance of perfection in it--that of Ruby Dee. But it's got a beautiful blend of sound, music, dialogue, cinematography and understated performances--but especially the use of music, because you really hear and notice the songs (even while they blend) without being surprised when their titles pop up in the closing credits. One of the most sickening things about 'There Will Be Blood' is the idiotic use of piano trios. I can't quite believe how much I loathe this film and this actor's indulgence in endless artiness to little purpose other than some garden-variety S&M.

I realize most people think this is a masterpiece and its actor the 'great actor of our time', so I apologize in advance for despising it. I think 'American Gigolo' (yes, the Rodeo Drive business) a far better film.

[4mrdncr]

More overrated movies:

Saving Private Ryan and Schindler's List

I hurt the Holocaust and appreciate the Greatest Generation as much as the next Jew, but I don't turn my personal feelings into extraodinarily long and expensive ego-trips.

The Indiana Jones trilogy, on the other hand, is one of the best examples of superior pop culture ever made. I'm looking forward to Indiana Jones & the Crystal Skull.

I totally agree with papeetepatrick with respect to Tom Cruise. It is fascinating to watch Tom Cruise analyse himself and his public persona via movies. Besides Magnolia and Eyes Wide Shut, he did it superbly in Minority Report (another Spielberg movie).

Agree about Private Ryan, but not Schindler's List because of Spielberg's use of technical tricks, which were utilized for brilliant (if sometimes overrated/and borderline cliche effect.) For a (simple) example: his change of film "grain" during the Nazi and Jewish scenes: Fine grain/silk for the Nazi parties/high life, coarse grain, high contrast to give a newsreel effect for the Camp scenes.

When I was in film school one of the first and best scripts I ever read was Raiders of the Lost Ark, because of the way it was constructed...Every page (and action in the film) set you up to expect a consequence/reaction, but when you turned the page something outrageous happens instead, thereby making the bottom of each page a "cliff-hanger" and forcing you to turn to the next page to see what happened. That's a true thriller action film. I also liked the fact that when Jones gets hurt, he winces, and is still sore many scenes later.

I've never seen the complete Magnolia or Eyes Wide Shut, but thought Cynet's comments about TC and similar actors/films quite true (and funny). Interesting thought about Cruise analyzing himself publicly in his films.

RE a few other films named...Shining was unsettling in beginning, but too over-the-top eventually to be scary. I did love the final ending with Jack joining the other ghosts in the picture, though, and glad it improved on the book.

And speaking of "scary" films: There is an early scene in Poltergeist (another OTT film) however that was put in purposely to scare film majors (which it did--when I attended the premiere in H'wd.)

My favorite scary film, though, was a small film with George C. Scott called "The Changeling". It starts slow, has a cliche sad story, but one great scene where George gets fed up with the ghost who's haunting his house, takes its small ball and drives many miles away, and drops it over a bridge...only to open the front door of his home and have the wet ball come bouncing down the stairs to meet him. One of the few times I have ever jumped--and that includes the first time I saw Alien. BTW: I'd love to see what Ridley Scott would do with an opera. (OTT? or not?)

PS. I too thought Day-Lewis did a good immitation of John Huston in There Will Be Blood. His character was so one-sided and reprehensible I didn't know whether it was horribly written or horribly acted. I wanted a Hollywood history lesson, or at least a multi-dimensional character study and never quite got it.

[papeetepatrick]

PS. I too thought Day-Lewis did a good immitation of John Huston in There Will Be Blood. His character was so one-sided and reprehensible I didn't know whether it was horribly written or horribly acted. I wanted a Hollywood history lesson, or at least a multi-dimensional character study and never quite got it.

Hi, 4mrdncr. I had read no reviews before posting my thoughts above--I didn't want to be swayed by something I knew had to have been praised if only because of the Sunday Times Mag and the Oscars. Yours is therefore only the second time I've heard about the John Huston imitation, which was so obvious when watching it to me, but that I had no idea anybody else would see. Just this morning I find that this has been pretty frequent in people's perception, and yet it's just not the real thing, it's all technique, it's hollow, and you see him acting all the way through it. It's as if you see him in process of producing his legacy right onscreen, becoming a 'part of history'. John Huston in Chinatown is all the way there; you don't think about John Huston because he is that good. Not for a moment do you think he is afraid to be corrupt.

I also had paid almost no attention to anything till just starting to watch this last night--so I didn't know this was Anderson. Interestingly, the one Anderson movie I've seen (and I've only seen 3) that I do not find pornographic is 'Boogie Nights', which is about pornography. I like it a great deal, with its amazing stylistic recreation of the milieu and terrific real performances by people like Wahlberg, Julianne Moore, and Heather Graham. The other one I've seen is 'Magnolia', and that's the one where I think Tom Cruise's odiousness is very effective, but the plague-rain of the rubber toads is the pornography in that movie. It is so uttterly asinine that it ruins the entire rest of the movie retroactively and you just remember skilful bits. Anderson is therefore the perfect director for Day-Lewis to haul out his whole bag of tricks, start making gestures full of infinite significant 'great-actor' portent even when it is a character who has no sensibilities to speak of, etc.

[canbelto]

I think "A Star is Born" is overrated. While I appreciate Judy Garland's talents and George Mason's sympathetic portrayal of Norman Maine the movie is still overlong and I don't find many of the songs all that appealing. The other Cukor film I think is overrated is "Philadelphia Story." Never saw the appeal of that movie, never will.

[dirac]

Yours is therefore only the second time I've heard about the John Huston imitation, which was so obvious when watching it to me, but that I had no idea anybody else would see.

It was widely noted at the time of the picture's release. Kind of hard to miss if you'd seen or heard Huston. I didn't think TWBB was totally dreadful but I do think that Anderson should bring on another scriptwriter (as with Magnolia and Boogie Nights, he has a hard time wrapping things up). Day-Lewis did gobble up the scenery, but with some of the scenes he had to play, what is a poor actor to do? He did keep you watching, no doubt about that. The first half hour was excellent and led to high hopes, which were disappointed.

I think "A Star is Born" is overrated. While I appreciate Judy Garland's talents and George Mason's sympathetic portrayal of Norman Maine the movie is still overlong and I don't find many of the songs all that appealing.

The story goes, as I'm sure you know, that the uncut version of the film is better than the one that eventually went into wide release. (A 'restored' version has been circulated but a lot of the original footage was gone and I didn't get much out of it.) I can't really see how it could ever have been all that, but there's no way of knowing now. It's too bad because its failure meant the real end of Garland's film career, and it's clear she had a lot more to give. Sad.

but the plague-rain of the rubber toads is the pornography in that movie

Anderson has his problems but you have to like a director who will take a risk like that. I thought it worked - he's careful to lay the groundwork for it, and in context it makes sense.

[papeetepatrick]

I think "A Star is Born" is overrated. While I appreciate Judy Garland's talents and George Mason's sympathetic portrayal of Norman Maine the movie is still overlong and I don't find many of the songs all that appealing. The other Cukor film I think is overrated is "Philadelphia Story." Never saw the appeal of that movie, never will.

I love the Arlen score and still have an ancient LP of it, the one with Judy perched on a stool. I think she sings marvelously in it. It was worth everything it cost in all ways IMO. Garland didn't have any more musical roles (that I know of), but she did have 'Judgment at Nuremberg', not to mention 'The Judy Garland Show'.

However, glad to finally find someone who doesn't like 'Philadelphia Story'. I can't stand Miss Hepburn in it, no allure at all. I find I either love her or hate her--but worst is her casting in 'Madwoman of Chaillot', which either of her accompanying madwomen, Margaret Leighton or Edith Evans, would have done a thousand times better. As it is, for anyone tired of her bossiness and eager to see her receive at least one good comeuppance, Leighton upstages her without even trying, and Evans positively demolishes her (I'm going to go to the IMDb slums in a moment and find Mankiewicz's hilarious quip about Kate...). It was peculiar how this immediately followed 'The Lion in Winter', which I thought worked and also thought she was excellent in it.

Anderson has his problems but you have to like a director who will take a risk like that. I thought it worked - he's careful to lay the groundwork for it, and in context it makes sense.

Well, we are allowed to disagree to all eternity then. I understand your well-written English sentence, but cannot find how it corresponds to reality , therefore, call me cowardly, but I will never take the risk of not checking who the director is again after this one...

Edited to add Joseph Mankiewicz's immortal "The most experienced amateur actress in the world" for Kate. Amusing, but I think 'Long Day's Journey Into Night', and perhaps 'Suddenly Last Summer', renders that to some degree null and void. But Dame Edith unquestionably was able to let her know who was the real boss.

[papeetepatrick]

BTW: I'd love to see what Ridley Scott would do with an opera. (OTT? or not?)

I think that's an excellent idea, and I wouldn't have thought of it. 'American Gangster' is very musical, like a piece of cool, velvety jazz. The editing is state-of-the-art but includes several sensory elements as if counterpoint in a way that thoroughly surprised me. It's hypnotic without seeming drugged. I wonder what operas would be best for him? Maybe some of the 20th century American ones, but I bet he could do wonders with 'Pelleas et Melisande' too, as I think that could be extremely visual, cinematic. But maybe Britten's gorgeous 'Midsummer Night's Dream' as well.

[4mrdncr]

I thought of Ridley Scott and opera when I viewed the final scenes of "Gladiator"--especially when Maximus and Comitus are ascending in the lift to the stadium floor and all those red rose petals are drifting down (a rain blood?) to Zimmer's chorale (& rip-off imitation of Goretski.) VERY operatic, but unlike Coppola, not OTT.

[Canary]

Wow, what an interesting topic, especially for a movie buff! I'm European so I'd like to talk about the movie scene in Europe. Directors I feel are overrated are:

Lars von Trier- never have I understood all that rubbish about him being a great artist of the cinema, his movies are boring, misogynistic, pointless. I have never gotten anything out of his movies, of course be free to argue with me.

Godard- never have I understood the fuss about Breathless, I thought it was one of his weaker movies.

Almodovar- okay, I know this will be controversial but as I am from Spain I guess I can criticize. Why, with all the other wonderful directors from Spain, Bunuel, Garci etc. why does he appeal the most to foreigners? I always feel as if he is looking for ways to shock the audience, always the story of transexuals, nuns pregnant, drugs, sex, come on! Anyone would think Barcelona and Madrid are Sodom and Gomorrah, there are other ways of pushing the envelope.

Anna Karina- always thought she was overrated, auteur muse or not when you are an actress you have to know some acting

From U.S.A, Quentin Tarantino, again like Almodovar thinks he can shock when in fact his movies are downright boring and egotistic

[papeetepatrick]

Anyone would think Barcelona and Madrid are Sodom and Gomorrah

Barcelona is, isn't it? That's why everybody wants to go inspect it, I thought. Or it's got some heavy districts that people write about. Oh well, so does Berlin have a lot of vile bars.

Anna Karina- always thought she was overrated, auteur muse or not when you are an actress you have to know some acting

I like her in several of the Godard films, esp. A Woman is a Woman, Alphaville, Band of Outsiders, and Pierrot le Fou (I love Pierrot le Fou, and Belmondo is great in it). Obviously, I like some Godard a lot (but definitely not all of it.)

From U.S.A, Quentin Tarantino, again like Almodovar thinks he can shock when in fact his movies are downright boring and egotistic

I like some Almodovar pretty well, but agree totally about Tarantino. I can't stand the films nor his movie-nerd image. The Kill Bill movies are repulsive, and when the concept of Musedom gets to Tarantino 'n' Uma Thurman, it's time to throw in the towel and get all nihilistic like the well-paid theorists.

[Canary]

Pierrot le Fou was good, but only because of Belmondo's monumental performance. A Woman is a woman, the plot of the movie sounded good on paper but the movie itself didn't say anything to me. One director I always defend is Bergman his movies are uniformly good, and some of them are marvelous, they still have impact, they are like Mozart's operas, always a new angle is found.

[dirac]

Anna Karina- always thought she was overrated, auteur muse or not when you are an actress you have to know some acting

Hi, canary, welcome. She's not a favorite of mine, either. Another muse I haven't much time for is the somnolent Monica Vitti, although I understand she could be livelier elsewhere.

(Regardless of what one thinks of Truffaut's womanizing, it did mean he wasn't foisting some mediocre talent on us in picture after picture -- it would be one or two, tops, and then we and he would move on. Bergman's women tended to be consistently beautiful and talented - must be something in the water over there.)

Godard- never have I understood the fuss about Breathless, I thought it was one of his weaker movies.

I think perhaps people have stolen from it so exhaustively over the years that it's no longer fresh.

[Helene]

Lars von Trier- never have I understood all that rubbish about him being a great artist of the cinema, his movies are boring, misogynistic, pointless. I have never gotten anything out of his movies, of course be free to argue with me.

Just this morning I read a small article about how Nicole Kidman canceled a dinner engagement after seeing "Breaking the Waves", because she was so upset by it she went home, crawled into bed, and cried. I then had a momentary flashback about that movie, which I had hoped to never think about again, I found it such a waste of time. I agree with all of your adjectives for his films, to which I would add "pretentious".

[papeetepatrick]

'Diva' from 1981--ugly garish colour and the diva, Wilhelminia Fernandez, is totally without any charisma or any kind of obvious beauty that a general audience could ever sympathize with as making a pretty young boy obsessive . The story is stupid, and the look is on almost as tacky a level as 'Life is Beautiful', another lethal bore.

[Mme. Hermine]

ah well, that's life, i liked them both a great deal.

[papeetepatrick]

Just this morning I read a small article about how Nicole Kidman canceled a dinner engagement after seeing "Breaking the Waves", because she was so upset by it she went home, crawled into bed, and cried. I then had a momentary flashback about that movie, which I had hoped to never think about again, I found it such a waste of time. I agree with all of your adjectives for his films, to which I would add "pretentious".

Nicole must have gotten over it, of course, putting up with Lars for a whole film starring herself ('Dogville'), although I didn't see it because of her. I did like 'Dancer in the Dark' very much though.

[dirac]

I then had a momentary flashback about that movie, which I had hoped to never think about again, I found it such a waste of time.

A waste of time is the last thing I’d call it. I’d recommend it for Emily Watson and Stellan Skarsgard alone. I could have done without the ending but it was one of the most interesting movies I’d seen that year.

Nicole must have gotten over it, of course, putting up with Lars for a whole film starring herself ('Dogville'), although I didn't see it because of her.

Kidman was excellent in Dogville. (We have a thread on the movie somewhere.)

Von Trier doesn’t really qualify as overrated because his work annoys too many people. I think in order to be ‘overrated’ there has to be a general consensus in favor.

'Diva' from 1981--ugly garish colour and the diva, Wilhelminia Fernandez, is totally without any charisma or any kind of obvious beauty that a general audience could ever sympathize with as making a pretty young boy obsessive . The story is stupid,

ah well, that's life, i liked them both a great deal.

I did, too. I thought Fernandez looked ravishing, although as it turned out she didn't have much of a voice. I got a kick out the movie back when, although I did think it was a trifle overrated. It showed up again on cable recently and I still liked it.