Reviews written by registered user
|19 reviews in total|
Writer/director Michael Wechsler has fashioned a top-notch
psychological thriller, which blends elements of the three
above-mentioned masters of their craft into a wholly unique film.
The Shellner family reunites during a cold winter holiday for the last time, as the patriarch (Judd Hirsch) is succumbing to cancer. An internationally-renowned psychologist, Dr. Shellner is most famous for his work with war veterans suffering from PTSD. When horror novelist son Tommy (Ryan O'Nan) arrives at the gathering, his behavior starts out being erratic and escalates into borderline-psychotic rants, hurling accusations at his father of terrible abuse he heaped upon his children as they were growing up. Tommy's siblings (Jamie Ray Newman, C.S. Lee, Joseph Lyle Taylor) and their concerned, caring mother (Caroline Lagerfelt) slowly put the pieces of the twisted puzzle together, building to a shattering climax.
This is the kind of film that proves you don't need a mega-billion dollar budget of special effects, explosions and guys in tights and capes to make for an entertaining, thought-provoking evening at the cinema. There isn't a false note in the entire production. Direction, script, cinematography, and especially the performances are all top-notch. Kudos to all involved.
I shall look forward with great anticipation to more work from Mr. Wechsler in the future. 10/10.
It's fair to say I've been a cinefile my entire life and have seen
(conservative estimate) over 2,000 movies during my 40+ years. It's
also fair to say that AFTER LAST SEASON is, by far, the worst.
Technically inept, incomprehensible plotting/screenplay, and acting that would make most community theater troupes look like The Royal Shakespeare Company, all contribute the ingredients that cook up a Mulligan's Stew which makes any film by Ed Wood look like an epic by David Lean, in comparison.
A friend who saw the film with me has a theory: this film was a huge scam (a la Mel Brooks' THE PRODUCERS) to dupe its investors out of the (supposedly) $5 million it cost. I hope, for reason's sake, this is the case! An old anecdote about Orson Welles, in conclusion: During his later years, when Mr. Welles would be invited to a movie or theater premiere that turned out to be abysmal, and he was forced to "congratulate" the director afterward, the great man would walk up, take the director's hand in his, and in his best bass baritone, look at the director meaningfully and say "There are no words." Indeed.
A Brooklyn nightclub owner (Joaquin Phoenix) must choose between his family of cops (Mark Wahlberg, Robert Duvall) or the Russian mobsters that are bankrolling him. With his third feature since 1994's Little Odessa, writer/director James Gray proves that he has a fine cinematic eye, but still can't write a script with a shred of originality, or create three-dimensional characters that we give a damn about. Also like his previous two films, there is an overwhelming feeling of heavy self-consciousness, which weighs down the entire proceedings. Hopefully Gray will come up with a story that's more from his heart and own life experiences, instead of continuing to make movies about all the movies that he's seen. 5/10
*** This review may contain spoilers ***
THE BRAVE ONE makes a fatal mistake from its first frame by trying to
be much more than it actually is: a B-movie exploitation film. Yes,
it's got A-level talent before (Jodie Foster, Terrence Howard) and
behind (Neil Jordan) the camera, but its script is so derivative of
every vigilante movie ever made, that it literally lifts scenes from
two of the genres best: DEATH WISH and TAXI DRIVER. Both those films
worked so well, and became deserved classics, because the filmmakers
knew exactly what kind of stories they were trying to tell:
TAXI DRIVER was a brilliant mediation on the symbiotic relationship between urban decay, post-Vietnam ennui, and the violence that lies within every human heart, particularly when faced with the loneliness brought about by feeling disenfranchised from society. It was a metaphorical message driven home with the force of the .44 Magnum that Travis Bickle uses to purge his id at the film's finale.
DEATH WISH not only embraced the fact that it was a sleazy, B-movie exploitation film, it gave the idea a big bear hug, and a sloppy kiss to boot! It never tried to be introspective, meaningful, or even dare to dip its toe into the world of metaphor. It was "see Charlie Bronson kick ass" for 93 blood-soaked minutes.
Both films featured an alternative universe of New York City: TAXI DRIVER's resembling something that Dante might have written as part of "The Inferno," and DEATH WISH offering a surreal version of the Big Apple that sometimes bordered on science fiction: where bad guys were literally around every corner, ready to rob, rape, maim and murder you at a moment's notice.
Not only does THE BRAVE ONE shamelessly steal the 1970s NYC alternative universe, which simply doesn't exist anymore in post-Rudy New York, it lifts entire sequences from both films: In TAXI DRIVER, Travis Bickle busts his vigilante cherry by taking out a gunman in a convenience store. Jodie Foster, TAXI DRIVER alumnus, does the same in THE BRAVE ONE. In DEATH WISH, Charlie Bronson blows away a knife-wielding thug (future cable movie director John Herzfeld) on the subway. Guess what, Jodie does it times two in THE BRAVE ONE! I guess the development exec who green-lit this Joel Silver production wasn't old enough to have seen either of the aforementioned films when they were released (let alone have a Netflix account), so he or she should be absolved of not screaming "Plagiarism!" upon their first read of the script.
In between blood-letting, Foster's radio host records introspective monologues on her tape recorder about the primal nature of man, and other lofty subjects. The film's best moments occur between Foster and Howard, who do have a few interesting talks about the idea of vigilantism, but it's not enough icing for the entire cake. In attempting to merge the sensibilities of TAXI DRIVER and DEATH WISH, two very strong films that still hold up 30 years later, THE BRAVE ONE winds up giving birth to a bastard child with no real identity of its own. It is neither entertaining, nor meaningful enough to stand as an updated statement on the vigilante genre that DEATH WISH spawned in 1974, and TAXI DRIVER (should have) ended in 1976, although the genre continued unabated for many years after, reaching a nadir with the nauseating EXECUTIONER series, starring Robert Ginty in the early '80s.
Here's hoping THE BRAVE ONE doesn't give rebirth to the genre.
And by the way Jodie, Terrence and Neil: the three of you should have known better! 6/10
I was a small child when this ran during its one season in 1970, and it had a profound effect on me, although at the time I had no idea why. While some people argue that "H.R. Puffinstuff" was the most psychedelic, drug-fueled kids' show of all-time (and of that period), I would say it comes in a close second to "L.L."! Watching "L.L" now, you can almost picture the haze of pot smoke and LSD trips the creators and writers of this show must have gotten their ideas from! It's like a stoner's PhD thesis! "L.L." is a surrealistic masterpiece worthy of Salvador Dali (wonder if the old boy ever watched it? Now THAT would be something to behold!). It's easy to understand why it only ran for one season, and equally easy to see how it has achieved the cult status it enjoys today. Truly a time capsule of the late 60s/early 70s, thank goodness that it's now preserved for posterity on DVD! Children and heads of the world unite!
Please don't make negative comments like some of the aforementioned
people have been doing if you haven't seen the film yet! I have seen
it, at a press screening last week. Not only is it the best film of the
year so far, it marks a return to form for Martin Scorsese, and ranks
with the likes of GOODFELLAS as being one of the best in his canon of
I'm a fan of the Hong Kong film, INFERNAL AFFAIRS, upon which this is based. While THE DEPARTED keeps the basic structure of the original, it is very much its own movie, so much so that the screenwriter, William Monahan, didn't even watch the original film while adapting its screenplay, thus enabling him to infuse the script with his, and Scorsese's, respective visions.
All the actors are first-rate (yes, even Leo, for all you DiCaprio bashers out there), and turn in some of their best performances to date. THE DEPARTED is sure to garner a host of Oscar nods, if not wins, including (hopefully) Scorsese's long-overdue statuette for Best Director. Plus, with actors like Martin Sheen and Alec Baldwin playing supporting roles, that says a lot about the quality of the film they signed up for! THE DEPARTED is tough stuff, not for the faint-of-heart. That said, it is a must-see for adult viewers who long for intelligent, gritty stories to grace our movie screens once again.
Filmmaker Adam Schlacter has fashioned a poignant, honest tale about
love and loss, fathers and sons, and the delicate nature of family.
When a young man is looking after his younger brother on a desolate
beach, they encounter a wandering preacher, who begins to sermonize at
them. Soon the young man realizes that the preacher is his estranged
father, resulting in a heated, and cathartic confrontation.
There's nothing more difficult than telling a fleshed-out story in short amount of time. While this film, which was produced for Esquire magazine's annual student film-making competition, runs only six minutes, it manages to convey a wealth of emotions and tell a story of depth and resonance in the process. Kudos to all involved! 10/10
...and innocence lost. Writer/director Adam Schlacter has set his film
in a Latin American country, but it's a universal story to which anyone
from any background can relate: the lesson that childhood is a brief
blip on the radar of life, and that nothing is permanent. Schlacter
draws expert performances from his mostly-juvenile cast, and the film
has an unpretentious air of authenticity throughout. So many "student"
films are helmed by a show-off director, who is dying to constantly
remind the audience that he or she is behind the camera, giving us
nausea with swooping camera moves, or MTV-style editing. Not so here.
You don't notice how well the film is directed until the second or
third viewing, so assured is Mr. Schlacter's directorial hand.
Kudos also to excellent editing by Stephanie Hernstadt! 10/10.
LEFT AT THE RIO GRANDE is magical realism at its best. Writer-director Kevin Abrams has fashioned a story that is both personal, and metaphorical, to create one of the most touching experiences I've had at the movies in quite some time! Hard to believe this is a grad student thesis project, as it plays like a feature made by old pros! Beth Robbins gives a wonderfully nuanced turn as the childless chief of a border patrol station near the Rio Grande River in Texas. When a swarm of heavily pregnant Mexican women start coming across the river into the U.S.--some far too old to seem to able to bear children, the chief knows something strange is going on! I won't reveal any spoilers. Just watch for this film if it happens to come to a film festival or cable network near you! Kudos to one and all involved with this terrific film.
I saw AUTEUR at a recent American Film Institute showcase and was blown
away! This is one of the best Hollywood satires ever made! It ranks up
there with masterpieces like THE PLAYER. Kudos to Kevin Abrams, Alex
Simon, Jeff Siljenberg and Stephanie Hernstadt for a job well-done.
Beau Clark is nothing short of brilliant as Eric Pelham. He is a face to watch, as are the rest of the supporting cast: Victoria Profeta, Jack Rubinoff, Jonathan Coogan, Lee Schall, and veteran character actor Granville (Sonny) Van Dusen as Jack Burton, the cheesy movie star to end all cheesy movie stars! Do yourself a favor and seek this film out. It runs just under 30 min., but I kept wishing it were longer. Make a feature version, kids!
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