The Killing

"Kubrick's day at the races"

review of The Killing (1956)- Stanley Kubrick

Stanley Kubrick scored big with The Killing back in 1956. A heist film, like this, is difficult to be duplicated especially when you take the Kubrick 'feel' of it into account. Sterling Hayden plays the infamous Johnny Clay who puts together a team in order to knock off a racetrack, shortly after serving a 5 year sentence in Alcatraz. Johnny, the criminal mastermind, brings in several men seeking the $2 million financial gain to be earned at the end of the job. The heist is planned down to the minute and executed before the film even reaches it's climax.

While many Kubrick fans rate films such as 'A Clockwork Orange', 'Full Metal Jacket', 'The Shining', etc. to be his best films, I would easily swap one of them out for this film. The Killing redefined the film noir genre as a whole back in 1956, and paved the way for Kubrick's next major success: Paths of Glory.

The Darjeeling Limited

"Picasso....Rembrant....Wes Andersen"

review of The Darjeeling Limited (2007)- Wes Andersen

Picasso used a paintbrush for his masterpieces, and Wes Andersen uses a camera and pencil. Next to Rushmore, I consider this to be Wes Andersen's 2nd best film. Andersen's films portray a meaning in a quiet, distinct, and subtle manner which no other writer or director has achieved. Their style and grace have a warming familiarity that can be seen throughout The Darjeeling Limited.

The Darjeeling Limited is a visually stunning tale of three brothers (Owen Wilson, Jason Schwartzman, and Adrian Brody) who search for meaning in their lives by embarking on a spiritual journey to India. We've all seen films involving spiritual journeys before, in which most of them fail to live up to our expectations. TDL is the latter. Brilliantly filmed on location in India, the film is pure gold from start to finish. It makes India look like a welcome place for those in search of deeper meaning.

The great thing about Andersen's films is that he can take a set of actors, that may not be especially great or entertaining, and turn them into intriguing characters who always leave you wanting to know more about. The Darjeeling Limited is no exception. The three brothers, who haven't seen each other in over a year, have excellent chemistry that shows what being family is all about. The characters show that no matter what distance or amount of time is set in between family members, they can always come back to each other and pick up right where they left off. This also includes their mother, Patricia (Anjelica Huston).

When Francis, Peter, and Jack depart for India, we see the depression in them that is controlling their lives. By the end of the film, it is obvious that they received what they came for: personal enlightenment and inner meaning. They also rekindled their bond as brothers.

The best part of a film like this is the bonding and brotherhood. Rather than two person interaction which can be seen in most films of the kind, we see a trifecta of interaction which is flawlessly carried out in the film, but more specifically in certain scenes. Three of my favorite scenes are: 1) When Jack, Peter, and Francis climb atop the steep hill to perform the flower ritual and end of fighting over the reason why they came to India 2) When the brothers attempt the flower ritual again around the campfire 3) After the brothers are booted from The Darjeeling Limited by the hasty conductor, when they encounter the children who are struggling to make it across the river.To conclude, The Darjeeling Limited is utterly fantastic. It is a film that should be seen by Andersen and non-Andersen fans alike.

For Your Eyes Only

"Moore in his finest hour" (SPOILER ALERT)

review of For Your Eyes Only (1981)- John Glen

Simply put, FYEO is an epic spy-caper of massive proportions. It's absolutely brilliant from start to finish, mainly due to the excellent direction of John Glen and beautiful score by Bill Conti. One of my major attractions to the film is the soundtrack, which I believe to be Conti's best work since Rocky. The early 80's mixture of jazz and classic tones makes this soundtrack unforgettable.

The film itself is eye-candy to any Bond fan. The locations in FYEO are some of the best we've seen in the franchise. The film spans from London, to Greece, to the beautiful Cortina in Italy.

The opening sequence is one if the best of the series. We see Bond laying flowers at Tracy's grave, who we have barely heard of since OHMSS, followed by one of the best stunts in an opening scene. The chase is on when Bond is duped into getting into the Universal Exports helicopter by the unofficial Blofeld.

Due to the failure of Moonraker, we see how down to earth FYEO is when it comes to plot and action. Although Moore is noticeably aged at this point, he pulls off the down to earth combination of style and substance with ease. Witty one liners and campy villains were left at the door with FYEO. Let me make a point of saying that the Bond girl, Melina (Carole Bouquet), also added to the drastic change in style. Rather than being a useless sidekick used solely for Bond's pleasure, Melina added a grittiness to the plot that makes FYEO comparable to a Dalton film. Melina's back story with her father and the discovery of the St. Georges fuses amazingly with Bond's mission to recover the ATAC system.

One of the major high points in FYEO, is not knowing who the actual villain is until the 2nd act of the movie. Aristotle Kristatos (played by the amazing Julian Glover) and Milos Columbo (Topol) play the perfect cold war rivals. By the latter half of the film, three of the major characters (Melina, Bond, and Kristatos) are all on the trail of Kristatos.

The action sequences were intense and extremely climactic. Locque and Kriegler's pursuit of Bond on the ski slopes was nothing short of brilliant. Beginning high atop the ski-jump and commencing through the beautiful snowy mountain range, this sequence has gone down in the record books. One part of this scene that I always enjoy pointing out is when Bond ruthlessly places the ski pole on the branch of the tree, knowing the ultimate outcome. That is easily one of the most brutal deaths throughout the film.

Who says Bond doesn't kill in cold blood? Emile Locque's death came as no surprise, but was pretty brutal. Preceding Locque's death, Bond says an unforgettable line: You left this with Ferrara, I believe.. A line like this brilliantly sums up the theme of FYEO: revenge. The ending of FYEO is one scene that has every Bond fan on the edge of their seat. Beginning with Bond's ascent to Kristato's mountaintop hideaway in St. Cyrils, the climax already has us drawn in. While the premise is a classic Bond evasive tactic, it is unique in every possible way. Rather than bringing in backup and forcing Kristatos to surrender the ATAC by using air tactics, Bond climbs his way up the mountainside. The scene ends with Kriegler's well deserved 'drop off' and the death of Kristatos which was absolutely poetic. He died in the manner that he lived, as a sneak.

Vitus

"A musical prodigy"

review of Vitus (2006)- Fredi M. Murer

Being a musician myself, I hold this movie in such high regard. Music is about what you make of it, not what others want you to make out of it. Vitus is a wonderful film that is linear, magical, and groundbreaking in the musical genre. The film achieves near perfection with a fantastic score and wonderful cinematography. The direction of the Swiss landscape is visually stunning and gorgeous, which makes the film hard to look away from. The themes in Vitus such as realism, determination, youth, and wonderment launch the replay value off the charts and make it the perfect feel-good movie. Adding to it's brilliance is the script, which is one of the finest I have ever seen portrayed by the dialogue. Ultimately, Vitus possesses a quality that most American music films lack which make it a film worth owning, rather than simply renting or borrowing.

Vitus is the unsung hero of musical films. He is brought up to constantly improve upon his talent as a piano player until one day,when he decides on his own to take the piano at his own pace. His grandfather proves to be a wonderful source of inspiration and guides Vitus when it comes to understanding the ways of the world.

Sideways

"Fine wines, hilarious misfortunes"

review of Sideways (2004)- Alexander Payne



What happens when you combine a depressed wine connoisseur and a television commercial actor who is in the midst of a mid-life crisis? Two hours of non-stop hilarity. Under the direction and production of Alexander Payne (Election, King of California), the novel Sideways by Rex Pickett is brought to life. Paul Giamatti (Miles), Thomas Haden Church (Jack), Sandra Oh (Stephanie), and Virginia Madsen (Maya) star in this hilarious story of life, love, and wine that redefines the term comedy.

Miles, a struggling writer, and Jack, a middle-aged actor, leave their worries behind and throw all inhibitions to the wind as they depart on a week long vacation in celebration of Jack's upcoming marriage. This journey of personal enlightenment provides a visual perspective of what the novel is all about. Proving to be one of my favorite film adaptations of a novel, 'Sideways' brilliantly portrays the lives of Miles and Jack in only a week's time.

While some fans and critics panned this film that pushed the envelope of depressing comedy, I found it to be one of the most character involved comedies in the past 15 years. Film goers who got out of the film two guys in search of nothing but sex, need to give this film another viewing. The character involvement that intertwines Miles, Jack, Stephanie and Maya make this a brilliant story of complexity and unpredictability.

Paul Giamatti is a phenomenal actor, who portrays his finest role as Miles in Sideways. Giamatti's character Miles experiences joy, depression, and heartache during a time of personal growth. Even though the viewer expects a happy ending for troubled Miles, we get to see the long road he travels in search of enlightenment.

Not only was Sideways robbed of the Academy Award for Best Picture, but Giamatti was robbed for best actor as well. Alexander Payne certainly put his mark on the comedy genre with Sideways. I am looking forward to what else he has in store for us off-beat movie goers.

Love, hate, depression, happiness, beauty, and brilliant underlying themes make Sideways a solid 9/10.

The Shining

"You're money's no good here, Mr. Torrance"

review of The Shining (1980)- Stanley Kubrick

When it comes to Stanley Kubrick, you might say that I am an avid viewer of his work, but not a fanatic. Don't get me wrong, I love Lolita, Dr.Strangelove, and 2001: A Space Odyssey, but they are just not some of my favorite films. The Shining, on the other hand, is in my Top 15 films ever made. I've read the Stephen King novel over ten times, seen the film over thirty times, and they both scare the living daylights out of me.

Let me set the record straight. I haven't been a big horror genre fan since the late 1990's. Horror films have become nothing but a simple way to make easy money, rather than creating a quality scary movie. Like I said before, I've seen The Shining countless times and it still remains completely terrifying. Every time I finish watching it, I am always peering over my shoulder on the lookout for a wild-eyed Mr. Torrence or a freakish pair of dead twins.

The roles of Jack Torrance (Jack Nicholson), Wendy Torrance (Shelley Duvall), and Danny Torrance (Danny Lloyd) could not have been better cast. The signature trademarks of these three are Nicholson's utter insanity, Duvall's look of terror, and Danny's reaction to the mysteriousness of the Overlook. The supporting roles were brilliant as well: Scatman Crothers as the cautious Dick Hallorann, Barry Nelson as the strict and fast-paced Stuart Ullman, and Joe Turkel as the creepy, yet welcoming, bartender Joe.

The cinematography is truly fabulous. Before the chaos ensues, the viewer already feels the cold chill running down their spine due to the appearance of The Overlook. Kubrick gives it an incredibly spine-chilling feel, especially when Jack starts losing his mind. The scene with Jack at the party in The Gold Room is off the wall creepy! Everything from his discussion with the bartender, to his encounter with Delbert Grady in the restroom is pure horrific genius.

Last but not least, I need to mention the fact that The Shining has one of the most brilliant endings in cinematic history. Granted, I already knew what the ending was before I watched the film for the first time, but nonetheless Kubrick pulled it off with style. I've introduced this film to so many friends and family members, and they all have one thing in common by the end of the film: a look of complete shock and awe. Kubrick's visionary tale of the classic Stephen King novel will dominate the ages.

Paranoid Park

"Return to Innocence"

review of Paranoid Park (2008)- Gus Van Sant

"Paranoid Park" is one of Gus Van Sant's finest films. Elephant was a masterpiece as well, but now I am unsure which one is more entertaining. This film certainly gave it a run for it's money.

Let me start off by saying that I am not much of a skater fan (skateboarding, roller blading, etc.). I have never watched the X Games, or even watched a single independent skating film. Going into my first viewing of Paranoid Park, I was expecting to be disappointed by long and drawn out skating cut scenes that take away from Van Sant's beautiful style. To put it lightly, I was wrong. This film showed more realism in a plot unlike anything I have ever seen before. Just when you think that the plot in Elephant is about as realistic as it can get, Paranoid Park throws you for a loop.

The plot and gorgeous cinematography truly bring out Alex's soul, our main character. Being only a teenager in high school, Alex lacks knowledge beyond his own innocence. His friend Jared continuously pressures him into joining the local skaters at the illegal "Paranoid Park", while his girlfriend Jennifer pressures him into losing his virginity. Who couldn't relate to situations like this? High school years are the most pressuring times in our lives, and sometimes the stress almost becomes too much to handle. Alex handles his emotions by writing in a journal near the shore, as well as conversing with his father, who has moved out since divorcing Alex's mother.

Eventually, Alex gives in to taking a trip to Paranoid Park with Jared and experiences one of the most realistically enthralling places in his hometown. The park itself is an eerie place, and becomes the suspect of a crime that takes place on the railroad tracks near by. When Alex and his fellow skaters are questioned by a private detective at school, they come to a crossroads: continue living the life of a free-spirited skater in a dangerous part of town, or give into the paranoia.

The constant inner struggle of Alex lets us deep into his soul. The audience sees what he sees and feels what he feels. Only when and if Alex decides to raise his sense of morality can he truly regain his innocence.

A View to a Kill

"Bond snow surfs"

review of A View to a Kill- John Glen

Where to begin with this travesty of a Bond film...I'll start by mentioning the one good point of the film. I rather enjoyed the opening theme by Duran Duran, even though I strongly disliked the visual aspect of it.

Easily one of the worst Bond films in history, AVTAK accomplished the same thing that Connery and Brosnan's last films did for them.

With Moore now into his late 50's, we see that he should have called it quits with Octopussy or even For Your Eyes Only. The films starts off with one of the absolute worst sequences with Bond 'snow surfing' to the song of California Girls. I would ask the producers what they were thinking when they decided to have an almost 60 year old looking Bond try to pull off stunts that most 30 year old can't pull off, but I'm sure they are thinking that already. Also, where is the classic Bond score during a scene like this??? What an abomination. I would discuss Bond's escape into a miniature submarine disguised as an iceberg, but I would rather not have you think about it.

I won't go into great detail concerning the plot, because I feel like it isn't even worth mentioning. With some Bond films I can easily say that the plot was a great idea, but poorly conceived. This is not one of those times. The plot is extremely choppy, campy, and drags in almost every scene. From beginning to end I kept thinking to myself: 1) Is it really getting this much worse? 2) How is it possible that they messed up a Bond movie like this after two great films back-to-back? The climax, or lack there of, was short and completely loony. Watching 57 year old Moore playing Bond in some of the most overblown stunts in the franchise's history was more than laughable. I was more than happy when the credits started to roll.

Even though Christopher Walken is a great actor, he played one of the worst Bond villains. He mannerisms and overall appearance were frustrating and ill-timed. Grace Jones, while quite gritty in AVTAK, ended up falling short as well. The one thing that prevents me from watching this movie entirely anymore, is Tanya Roberts as Stacey Hutton. Again, why would the producers allow the footage that they shot of her to even enter into a theater? Her constant shrieking and crying is worse than that of a 2 year old. She played no part in Bond's mission and was a complete hindrance.

2/10

Death Race 2000

"What'd you expect, another pretty face?"

review of Death Race 2000 (1975)- Paul Bartel

While Death Race is certainly not a classic, it does hold a high status in the cult industry. For those who haven't seen the film, it is recommended to watch it uncut. The film's cult look and feel are only existent in the uncut version, in my opinion. The acting from the drivers isn't anything special, but for me, the entertainment comes from the slick cars, quirky drivers, and stunt sequences. To be blunt, Death Race is a dark film that can be compared to a 1970's form of 'Grand Theft Auto' when it comes to the gritty driving. The film's satirical take on dangerous sports is like eye-candy to the average sci-fi film goer, who doesn't mind the low-budget feel.

David Carradine is an instant cult-classic as Frankenstein and while Sylvester Stallone isn't the normal dope he is in other films, his performance was easily forgettable. Calamity Jane (Mary Woronov) also added some enjoyable tidbits and mannerisms to the race.

Animal House

"Toga!"

review of Animal House (1978)- Harold Ramis

Animal House has gone down in history as the greatest college comedy on the planet. While some find it to be outdated, I still can't get enough of this hilarious laugh-fest. Harold Ramis sets the precedent with a film that redefines the comedy genre as a whole. While his other films such as Ghostbusters, Caddyshack, and Stripes are also extremely entertaining, Animal House still remains one of the best.

Faber College is a high society college that prides itself on the devotion of it's students. Dean Wormer's (John Vernon) tenure has quite the list of accolades, including extortion. Most of the fraternities on campus are well-behaved and organized, with one exception: The Delta House. We get our first taste of the Delta fraternity when Larry Kroger (Tom Hulce) and Kent Dorfman (Stephen Furst), visit them while browsing the campus' frat houses as freshman in 1962. Delta's long list of comedic members include: 'Boon' (Peter Reigert), D-Day (Bruce McGill), Robert Hoover; the chapter President (James Widdoes), 'Otter' (Tim Matheson), and last, but not least: 'Bluto' (John Belushi).

The Delta House is placed on "Double Secret Probation" after pushing Dean Wormer over the edge with their disgusting antics on campus. After receiving this warning, the Deltas continue to throw parties, torture the arch-nemesis fraternity headed by Douglas C. Neidermeyer (Mark Metcalf), and play pranks on the college. The end result? Expulsion from the college.

Just when the Delta's are down and out, we get to witness one of the most hilarious and entertaining revenge plots in cinema history!

Animal House is simply the most entertaining comedy in existence, and is a trademark film from the late 70's. Before the success of National Lampoon's Vacation, Animal House set the bar for the film franchise which remains one of the highest grossing film companies to this day.

Toga! Toga! Toga!

Miller's Crossing

"Up is down, black is white, and nothing is what it seems..."

review of Miller's Crossing (1990)- Coen Brothers

To this day, it still amazes me how much this film went by the wayside in 1990. Granted, Goodfellas was a masterpiece, but I find Miller's Crossing to be beyond brilliant. The Coens accomplished something in this film that Scorsese could never begin to imagine. While being an underrated classic, Miller's Crossing is a triumphant tale of expecting the unexpected. As the tag line states, "Up is down, black is white,and nothing is what it seems". Gabriel Byrne's performance of Tom Reagan is flawless, genuine, and unforgettable. Jon Polito, John Tuturro, Albert Finney, J.E. Freeman and Marcia Gay Harden also deserve the same recognition for their stunning performances. No other film, in the history of cinema, has ever felt so magical and alive. From beginning to end, MC is filled with twists and turns that make you feel like you hope the movie will never end.

The scenes themselves are like something out of a Picasso painting. Rather than rambling on, I'll name a few of my favorites:

-the opening scene with Caspar, Tom, and Leo

-the unforgettable "Danny Boy" scene with Leo

-"Bernie's walk" into the depths of Miller's Crossing

-Tom opening up to Leo about he and Verna

I could go on forever. Every scene is instantly classic, with a touch of gold from the Coens.
In addition to the beautiful cinematography, the dialogue is sheer genius. While I enjoy every single line in the film, I particularly loved what Tom, Leo, and Caspar had to say. If there was ever I movie that I could nearly quote from beginning to end, it would most certainly be Miller's Crossing.

What else could possibly add to a flawless movie? Carter Burwell's musical score. While Burwell is known for his excellent scores in Fargo and Barton Fink, he truly achieved greatness with the Miller's Crossing score.

The thing to walk away from with a film like Miller's Crossing can easily be summed up by the film's tag line: "Up is down, black is white, and nothing is what it seems". Not only does this concept apply to the plot of the film, but it applies to the viewer's expectations. Most people who walked into the theater in 1990 were expecting a typical gangster film, like The Godfather or Once Upon A Time In America. What they got was the exact opposite. Rather than seeing one-sided mobsters carry out the wishes of their boss, we see a rebellious Tom Reagan who has had enough with Leo's stubborn and egotistical judgments. With that in mind, the viewer sees an organized crime boss turned on his heels and thrown to the whim of an ex-underling.

After Hours

"Scorsese Goes Indie"

review of After Hours (1985)- Martin Scorsese



After financial problems involving The Last Temptation of Christ, Martin Scorsese was left at a crossroads. Had he decided not to do After Hours, we may never have seen hide nor hair from him again. As for it's ranking in the legendary Scorsese film collection? Among the highest. This underrated masterpiece is the very movie that got me addicted to independent films in the first place.

The setting: mid-80's, pre-Rudolph Giulianni era New York City.

The story introduces us to Paul Hackett (Griffin Dunne), who works inthe daytime as a low-level, word processor. One night, on an unusual impulse, Paul travels to the SoHo District in Manhattan. He lands at an all-night coffee shop where he meets Marcy Franklin (Rosanna Arquette), who proves to also be a night owl. By receiving Marcy's phone number, Paul sets off a series of strange and cataclysmic events that forever alter his night senses.
The film has many great supporting actors such as John Heard as the late night bar keep, Catherine O' Hara as the riot monger, and Linda Fiorentino as Marcy's artsy, mysterious roommate.

After Hours is a wonderful film from start to finish, and is a must see for die-hard Scorsese fans. Is it a Comedy? Drama? Thriller? That aspect is left up to the viewer.