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Time. What is time? Swiss manufacture it. French hoard it. Italians squander it. Americans say it is money. Hindus say it does not exist. Do you know what I say? I say time is a crook. - Peter Lorre, Beat The Devil
I learn about myself. There is no self. You learn you're not a self. You learn you're nothing. Ultimately. Hopefully. - Harry Dean Stanton
There was no tit for tat, Mr. Hero! - Paul Giamatti in Shoot 'Em Up
Slicker Smith: Throw your chest out! Go on! Throw your chest out!
Herbie Brown: I'm not through with it yet!
Ace: Captain's Log, stardate 23.9, rounded off to the... nearest decimal point. We've... traveled back in time to save an ancient species from... total annihilation. SO FAR... no... signs of aquatic life, but I'm going to find it. If I have to tear this universe another black hole, I'm going to find it. I've... GOT TO, MISTER.
Philip Stockton, who collected the trophy for Best Sound Editing, Hugo
I want to thank everybody who is here tonight, and everybody who isn't, and everybody who has ever been born or may be born or be born again or reborn, if I've forgotten anybody then you probably know who you are.
Check out My Top 250:
My Top Films of Each Decade:
(Perfect Scores in BLUE)
The Haunted Castle
A Trip To The Moon
The Fat and The Lean Wrestling Match
Sunrise: A Song of Two Humans
The Cabinet of Doctor Caligari
The Thief of Baghdad
The Last Laugh
Port of Shadows
The Lady Vanishes
Mr. Smith Goes To Washington
Make Way For Tomorrow
Bringing Up Baby
The 39 Steps
Out of The Past
The Third Man
The Time of Their Lives
Who Done It?
It's A Wonderful Life
Bud Abbott & Lou Costello Meet Frankenstein
And There Were None
Sweet Smell of Success
12 Angry Men
On The Waterfront
Dial 'M' For Murder
Pickup On South Street
Paths of Glory
North By Northwest
Strangers On A Train
Abbott & Costello Meet The Invisible Man
Once Upon A Time In The West
Cool Hand Luke
2001: A Space Odyssey
It's A Mad Mad Mad Mad World
The Godfather II
The Onion Field
Life of Brian
The Adventure of Sherlock Holmes' Smarter Brother
Return of The Secaucus Seven
Monty Python & The Holy Grail
Planes, Trains & Automobiles
Prince of The City
My Neighbor Totoro
Back to the Future
Crimes And Misdemeanors
Come And See
This Is Spinal Tap
The Breakfast Club
City of Hope
Shadows and Fog
The Usual Suspects
The Last of the Mohicans
Men With Guns
A Shallow Grave
The Fisher King
Twin Peaks: Fire Walk With Me
American History X
Three Colors: Blue
Waking Ned Divine
Eyes Wide Shut
Glengarry Glen Ross
Coupe De Ville
There Will Be Blood
Eternal Sunshine of The Spotless Mind
A Serious Man
Lost In Translation
The Royal Tenenbaums
The Imaginarium of Doctor Parnassus
The Hateful Eight
Killing Them Softly
The Perks of Being a Wallflower
My Favorite Actors
Harry Dean Stanton
Lee J. Cobb
My Favorite Actresses
Eva Marie Saint
Greatest Scenes In Film *WARNING POSSIBLE SPOILERS AHEAD*
-Joe Kenehans's monologue on equality
-the shootout at the end
The Hill (1965)
-trudging the hill
-Jacko King's breakdown
-The entire ending
Once Upon A Time In The West (1968)
-Cheyenne boarding the train
The Apartment (1960
-Baxter's story about the bullet in his leg
-The diary readings
Rear Window (1954)
-Lisa's adventure into Thorwald's apartment
On The Waterfront (1954)
-The long walk back to work
Paris, Texas (1984)
-Confronting the wife
Planes, Trains, And Automobiles (1987)
-The Bravewood Inn
-Do the Mess Around!
-Dropping the F-Bomb
The Last of The Mohicans (1992)
-Final 25 minutes (specifically Chingachcook's revenge)
Blue Velvet (1986)
A Shallow Grave (1994)
-The final twist
-Blume smoking in the elevator
-Blume destroying the bike
Eternal Sunshine of The Spotless Mind (2004)
-The beach house
Mulholland Drive (2001)
-Fixing the bed spring
The Set-Up (1949)
The Fisher King (1991)
-Grand Central turning into a ballroom
A Serious Man (2009)
-Doc Holliday's duel
Gran Tornio (2008)
-Leonard's 'goodbye' to the girl he likes
Quick Change (1990)
-trying to get some change
Lost In Translation (2003)
-the whisper between Murray and Johansen
-getting into the space suit
The Royal Tenenbaums (2001)
-the unexpected call
Who Done It? (1942)
Bottle Rocket (1996)
There Will Be Blood (2008)
-'I drink your milkshake!'
Say Anything (1989)
Favorite TV Shows
Law & Order
Trailer Park Boys
They Might Be Giants
The Presidents of The United States of America
We Were Promised Jetpacks
Favorite Single Artists:
Stevie Ray Vaughn
Heartattack and Vine - Tom Waits
Join Us - They Might Be Giants
Float - Flogging Molly
Ruby Vroom - Soul Coughing
Bang Bang - Dispatch
Graceland - Paul Simon
Frizzle Fry - Primus
Twin Peaks (2017)
David Lynch's Swan Song
When someone works hard at something or does something for a long time you can surmise that they well eventually get good at that thing, even masterful. Generally, this is the case for all great directors and David Lynch is no exception. With the newest Lynch-piece we are given something that is an amalgamation of all his previous work without sacrificing his style or creativity. We see the dark-industrial vibe of "Eraserhead", the American suburbia and the dark underbelly late-night bars/clubs/people from "Blue Velvet", "Wild At Heart", and "Twin Peaks", the winding roads and nightmarish features from nearly all his projects specifically "Lost Highway" and "Mulholland Drive", and then last but not least, we see the venture into the digital age with non-linear story and the craziest sound design you may possibly experience in any piece of media that we get from "Inland Empire". There are even remnants of design that hearken back to his old shorts.
This folks, is Lynch's swan song. The Return is already like nothing else ever before on TV and this includes the original two seasons of Twin Peaks.
Lynch allows the material to breathe, and gives the viewer plenty of time to absorb what's on screen. The filming is patient, and every shot is most definitely taken with care. The slow yearning shots is what Lynch uses to draw you in. The unfamiliarity of new faces leaves you with more questions than before. Also, as most already knew going in, The Return is set in many different locations--not just that charming, wholesome town of Twin Peaks. Even knowing Lynch's filmography there are moments that still have me unprepared for the amount of visuals and sounds that evoke nightmares. More terrifying than 90% of what I've seen as a film-goer.
I have to admit that it is taking me some time to adjust to the new vibe of the series knowing well in advance that Lynch and Frost have stated that The Return will be more like the prequel movie FWWM. I am someone who prefers the film to the series because Lynch had more room to work toward his vision. The result is a surrealist nightmare that The Return will have beat by a landslide. With that said, there will be many of you who will not like this at all (even folks who enjoyed the original series because The Return is THAT different). Lynch is certainly an acquired taste and everything isn't for everybody, but for those of you who are willing to give it a shot and appreciate an artist in his top form then maybe there is still some redeeming qualities in this for you. The Return is no run-of-the-mill action series or soap opera so be ready for one of the craziest rides you may ever be on.
Paterson and Poetry
I am a poet, and that was enough for me to connect with Adam Driver's Paterson, a man living in Paterson, New Jersey and drives a bus. The routine is simple and not much of anything seems to come through with meaning beyond what it is, and this is where Jim Jarmusch greatly succeeds with this film.
Films that take their time and choose to be poetic can certainly be beautiful, but they are usually at risk for coming off as pretentious (one of the major qualms people I know have with 'The Tree of Life'). But 'Paterson' is *just* simple, and the film allows you to interpret things as you see them without there being some sort of notion that makes you think this is supposed to be deeper than what you're feeling, and that's the beauty of the poetry. 'Paterson' doesn't try too hard to be beautiful and that's exactly the result. There is nothing over the top, and the occasionally words that fly on the screen help aid the visual of the poetry we already see.
Adam Driver hands in my favorite male performance from 2016, and Golshifteh Faharani along with Driver have amazing chemistry which make their relationship and life seem real. The characters of Everett and Marie are indeed interesting as well, and fill some screen time with a minor love-story of their own.
I appreciate the mentioning and homage to the great poet William Carlos Williams (or Carlos Williams Carlos whichever you prefer), and really this is what the film is speaking to for most of it; the simple beauty of Paterson, and the man himself who came from Paterson. My personal favorite is 'Red Wheelbarrow', but the mentioning of the plum poem is good too.
The main reason I give this film such high praise is really for the poetry because some lines have never left my mind "If you ever left me I'd take my heart out and never put it back". Just absolutely heavy, well-written stuff, perhaps lighting the screen of the TV of the woman you love for the first time.
A Huge Victory in Victoria
THE film of 2015 and possibly of this decade. I urgently put this on my films to watch as soon as I discovered it and I'm really glad I stumbled upon it late one night perusing IMDb. Sebastian Schipper directs a monumental project of a film done in one take. One friggin' take. I understand this has been done before once or twice, but it is assuredly a rare feat.
Victoria was recommended to me a few times, and I did not take long to track it down and finally watch it on Netflix. It left me in awe. I sat staring at the TV screen unable to move and silent minutes after the final moments were upon the screen. The film is tremendously raw, and because of the continuous take technique, the viewer feels like part of the crew. The real-time lapse is incredibly effective and becomes a tone- setter early on.
The first 40 minutes is a bit of a slow-burn setting up the characters and getting the viewer attached to the lead, Victoria. If one does not know the plot, I can guarantee that they will be in for quite the shock as the slow-burn turns realistically frightening, as the viewer begins to wonder what this young woman will do with the situation presented to her. The most interesting part of the film is possibly the spontaneity of Victoria and what exactly draws her to these "real Berlin guys". Is she just a thrill- seeker? Is she simply loyal? Does she like Sonne? Her character unfurls greatly during intimate moments on her night out on the town, and we watch her change mightily as we see parts of the climax truly effect her and change her.
The cast is all fantastic lead by a truly tremendous and no holds barred tour-de-force performance by the stunning Laia Costa. I would dare put her performance in the same category as what I consider the "Masterclass": Burt Lancaster in Elmer Gantry, Peter Sellers in Dr. Strangelove, Dennis Hopper in Blue Velvet, Colin Firth in Apartment Zero, Kate Winslet in Eternal Sunshine of the Spotless Mind, Daniel-Day Lewis in There Will Be Blood, and Joaquin Phoenix in The Master.
The masterpiece of 2015 and possibly the masterpiece of this decade.
Nothing But Trouble (1991)
Because I had trouble going to sleep last night feeling the most unsettled I've been in a very long time.
The majority of reviewers and people are wrong on this one by several miles.
Talk about a fever dream. Or if David Lynch made his own wacky version of Beetlejuice meets Planes, Trains and Automobiles meets Deliverance. Sure, there were funny moments from a film that has nothing but comedians in it, however, there are moments that take what is bizarre and goes seven steps further. I think all of us have heard and seen of horror turning into comedy, but in my experience it has been very rare to find comedy turn into horror... and done excellently. I understand why so many people don't like it, and apparently Siskel hated it too, but this isn't a poorly made film. Dan Aykroyd proves he has some directing chops by creating a goofy yet horrifying landscape in the Pennsylvannian/NJ/NY back roads. We always choose to judge a movie by how good it makes us feel, while we think we are in for a comedy here with Nothing But Trouble we are deeply mistaken, and I think plenty of people rate this film so low because they expected much differently. People who hate this movie I can guarantee feel the same way I do now after watching it. They feel uncomfortable; unsure of what they just watched and can't get the disturbing images of some of the characters out of their heads (shout out to you Bobo and Lil' Dubbel). It's like being in a world you wish never existed; like I said before a nightmarish fever dream that continually gets more surreal as the movie goes on.
Chevy Chase proves to be a fantastic straight man in an absurd world. Aykroyd and my man John Candy pulling in double duty for the most terrifying roles in what must be ages, because let's face it, I never thought I'd be saying either of those two would play anything terrifying. Aykroyd takes control of the screen as does Candy when scenes call for their presence. Demi Moore is solid as Chase's romance interest, and Taylor Negron (very over the top) is great in his small role.
If you love dark comedies or even slightly enjoy them, this is for you but as many people on the handful of reviews I've already seen have said: this makes "Texas Chainsaw Massacre", "Deathtrap" and "Heathers" seem like Peewee's Playhouse. The only other dark comedy that has made me feel even this closely unsettled is "Very Bad Things" (1998). The last film in general that has affected me anywhere close to this unsettled was probably "Come and See" (1985), but this my friends, this film takes the cake.
Another comment I read off of YouTUbe which summed this film up completely was: "I used to think Stephen King was out of his mind, but Aykroyd just speedballed him."
This movie gets a high rating from me, near shy of a perfect score for an amazing cast, getting something I was completely not asking for (in the best way), and having so many lucid feelings after watching something I thought people had pinned correctly as cinematic garbage.
Punch-Drunk Love (2002)
This film marks my 5th venture into the mind and vision of Paul Thomas Anderson (at this point in time I have not seen Magnolia or Inherent Vice).
I think this may be one of the most unique portrayals of love film may have. It's not necessarily realistic in the sense of who the characters are, but it is telling from what the characters do and how they react and handle life. From the start, we can clearly tell that Barry Egan has problems and at the same time we are confused and overwhelmed in the world that Barry is in. Just by the first 5 minutes we have plenty of questions regarding Barry and what exactly it is he does. I will even admit that I was caught off guard by the use of the sound editing which is brilliantly utilized to make us feel overwhelmed, scared, timid just like Barry; and to snap us out of delusion and bring us into 'reality.' Something that can easily be a difficult place for many of us, and something we don't always wish to face. I will also admit that after the first 20 minutes I began to question where exactly the film was going, and it wasn't until Egan's love interest, Lena Leonard (charmingly played by Emily Watson), comes into the picture and shows an odd interest in Barry.
Now there's a lot that can be said about love, and I think that's what makes this film great because it already has everything going for it: sound editing, quirky score, solid acting, unique camera-work, you get what I'm saying? Love is crazy. Love is blind. Opposites attract. Love makes you do crazy things. You'll find love when you least expect it. And maybe call it lazy writing (which is NOT the case) but it is reason enough to explain why someone like Lena falls for someone like Barry. They're both so similar (both have psychopathic tendencies) or Lena is rebounding from her previous relationship and just finds Barry interesting enough or love just makes you do crazy things. Whichever reason you prefer, and that's what I really enjoy about this film. These reasons and their meanings resonate with me and the film says what it's trying to say well.
Even with all the character set-up prior to a specific scene with a tire-iron, did the meaning not completely hit me (excuse the play on words) until then. Everything became much more clear in hindsight. We can understand Barry's motives and how he's changing as a person because he's found love. He's still awkward and flawed as hell, but love may be his saving grace. Maybe love is our salvation and maybe there is hope for us all to find it. I applaud PTA who has yet to let me down. Sandler surprises, Watson charms, and the sound editing will shock you.
Terror in a Texas Town (1958)
Things are not what they seem to be
If you are reading this review than it is probably because you were/are as interested as I was/am about watching 'Terror in a Texas Town.' As the few reviews have already mentioned, yes, this is probably one of the strangest westerns out there but strange in all the right ways. I mean, how often do you see a film start off with the top-billed actor walking with a purpose down the middle of the street with a harpoon in arms, let alone in a western? Then, there is a slight monologue from the opposing man as we face his back (and we don't see his face). We are already hooked and want to know more. Who is that blonde in the crowd? Who are those people and why are they watching? And why does one man carry a harpoon? The film begins with this startling image, provides an alarming western montage, and gives us the title card to then begin guiding us through the events that lead up to the unorthodox standoff we began with.
Parts are indeed flawed, but what do you expect from a B-western? The biggest qualms are more than likely the choice of music, some instances of the editing, and Sterling Hayden's floundering Swedish accent. But there is A LOT of good to enjoy which makes this film absolutely worth seeing.
We are led to believe that Hayden is the main character when I think there is more to look at through Ned Young's leather-clad gun-for-hire. Some of the previous reviews mention this; that there is a moral grey area this film conveys. Ned Young's Johnny Crale, who does all the dirty work for the greedy fat man McNeill, is troubled from the start. We learn that he and McNeill have had a past and that Crale is not the same person. He has changed, but for better or for worse? What does he seek from their relationship? And I suppose the same question can be asked of Crale's and Molly's bond.
And everything that was so wacky about that first confrontation now makes more sense, but not in ways we could have imagined. Now we know who the characters are and where their motives lie and the context of the situation. The Swede wants revenge for his father's death and the townspeople want to watch on like the curious bystanders they are. Society wants its victim, and so gets it. Because we need a bad guy when we know that Crale isn't the only one. As you watched the movie and got back to the confrontation how many other morally inept people were there? And how many does the Swede actually take on? Kinda puts things a bit more in perspective, doesn't it?
The loyal Mexican friend, Mirada, played by Victor Millan is the other mention-able part of the film, and the other major contribution to Johnny Crale's character development. Mirada knows, and Crale makes him pay but not without their confrontation changing Crale more than he suspected. During the scene nothing out of the ordinary happens and then the scene ends. It isn't until we watch Crale confront his girlfriend Molly that we see how truly disturbed he has become. "I saw a man this morning who wasn't afraid to die. YOU DON'T UNDERSTAND."
Highly recommended B-western, with a lot going for it especially if you like a little bit of a change-up to the normal prescription.
A Question of Humanity
It's been well over 7 years since the release of 'Watchmen' in movie theaters, and as I write this I'm thinking of all the graphic novel and comic book adaptions that have been made in recent years and which ones truly stand above the rest. Of course, there is then the argument of DC's content vs Marvel's, and sure, there will always be devoted individuals who will stick with their preferred company and writers, but some stories are just better than others. Straight up.
I had the privilege of finding the time to get a ticket and see the film on opening weekend, and I'm really glad I did. After watching it the first go around I was surprised how close to the material the adaption stayed, usually a path directors and screenwriters don't walk down frequently, but you can tell the love that Snyder has for the material; how scene after scene there are frames that match the graphic novel to a tee, and nearly every line verbatim. Amazing stuff. After perusing through the 'Watchmen' IMDb page I realize pretty much everything has already been said, but I figure what the hell. On the re-watch and after reading the graphic novel an additional two times over the span of 7 years I have come to appreciate the material even more.
The coolest thing about the Watchmen, and really the highest quality, is the varying dynamic and character philosophies that make each character fit so well into the grand scheme of the film's (and graphic novel's) message. It truly struck me how the 'give-no-mercy', no compromise morality of Rorschach and the leveling-the-playing field, ultimate compromise mentality of Ozymandias makes you think beyond the one dimensional good vs evil. So many arguments can be made for both sides, and we leave the film asking and pondering, "Wait, what? Who's right? Did he really get away with that? Did he really save more lives by killing others in the process?" It's like picking the lesser of two evils and this story and its characters (whether in the film or novel format) makes you think, and I effing love that about the 'Watchmen.' It is one of the ultimate dilemmas of humanity--one of the greatest philosophical questions... Just like the old situation goes: You are working at a rail yard. A train is coming in, but you notice there are people ahead working on the track and they don't know the train is coming. On the second track there is one person working and they don't know the train is coming either. The train is coming in way too fast and can't stop. What can you do? No one else is paying attention and you're the only one close enough to the control switch. Do you let the train continue and take the chance with the group working at one end? Or do you divert the train to where the one man is working so less lives are lost? It may seem like an easy answer at first, but there's a lot of content there. I assure you. And as if that isn't enough the allegory and allusion is brimming too. All thanks to the genius of Moore.
Of course, the film misses pretty much all the scenes between the young kid Bernard, and the Newsie old guy Bernard and everything about the Black Freighter, and the plot is slightly altered (which slightly changes the end), but ultimately the message still gets across, and I applaud Snyder and the writers for doing that well. Because in most cases films lose out on the changes that are made, and many loyalists to the original material can never forgive that, but in the case of the 'Watchmen' I think it can be forgiven since so many other things are done incredibly well.
I don't know if I'm getting more lenient as I grow older, but the 'Watchmen' jumps from a 8-star rating to a 10--strictly for having excellent story and character study while not giving up on style and original material. A movie that makes you think is always a keeper. I can understand Alan Moore's hate toward adapting written material to film, but I hope one day he can appreciate the same love Snyder has for something he created. It's a job well done, slight changes and all.
Incredibly Under-Appreciated Film in Character Study and Nod to Stewart's and Fonda's Careers.
'Firecreek' was a film I stumbled over late one night after watching another movie trying to fill my quota for the day. I was in the mood for Jimmy Stewart and I found myself watching this.
When one thinks of westerns or 'The Western' one would likely not mention 'Firecreek,' mostly because it seems to not be well known, but if it were to be known, it very well could be one of the greats. Full disclaimer up front; the film is flawed in ways during the final gunfight but nothing that ultimately takes away from the message it tries to give and the character study that it punctuates. 'Firecreek' begins slow, trickling really... setting up the super low-key vibe of the town and its people in a way that makes you think the movie deserves to be lesser known when in reality it is setting you up for the ultimate truth in THE best scene of the film, before the final gunfight. Now, let me quickly note here how Jimmy Stewart is one of the amazing few who have had moments of acting that have sent chills down my spine, or left me quiet and dumbfounded by the power or the passion in which they say their lines. One example that comes to mind is his monologue in the alleyway in Harvey (LEGENDARY moment), and the same thing happens in 'Firecreek.' Not another monologue in an alleyway and especially not one about an imaginary rabbit, but one that screams the message of the film and could very well catch you off guard. The scene is between Stewart and the shopkeeper played sublimely by Dean Jagger, who in a moment of reflection brings to light what Stewart's character was ignoring all along.
And you can begin to tell that THIS is what this film was building up to; this moment that has Stewart's character drowning in his own too-polite, too-nice sentimentality's that have cost him too much. It is now he realizes that what has happened to 'Firecreek' has gone on long enough, and even if there's a chance of dying, dammit, he's gonna do it anyway all in the name of pride and dignity because he was always proud of his beloved town.
And Fonda... playing almost the same character as Stewart but as the leader of an outlaw gang. I didn't notice it at first, but then, like the revelation Stewart's character goes through, I realized that Fonda is subdued as well. He has a change of heart (possibly looking for romance) and wants to change his lifestyle but is tied to the antics of the gang as its leader and allows it (Stewart is tied to the town as its $2 salary SHERAF while his wife is about to give birth to a child). The parallel is interesting and makes the character study even more entertaining.
Kinda got a little carried away there, but you get the point. 'Firecreek' is an under- appreciated film that holds way more weight than has been mentioned about it. The cast as a whole is fantastic, and Stewart's riveting passion at the end wouldn't be justified without mentioning the instigators of his town's temporary hell played by blue-eyed devil Fonda, Lockwood, Elam, Best, and Woodward. Inger Stevens does a wonderful job as a spinster who takes care of Fonda briefly and takes part in entertaining him reluctantly with little conversation as he recovers from a wound he received prior to his gang's antics in 'Firecreek.' Stevens' greatest moment also comes at the end, making a powerful and emotional statement albeit as brief as it is. Another blonde-haired, blue-eyed beauty in Brooke Bundy is worth mentioning as she steals some moments as wonderful eye-candy.
'Firecreek' is an excellent example of Stewart and Fonda doing what they were always good at, especially Stewart who once again shines in moments of ultimate humanity and humility as the guy we all know as not a 'John Wayne' or 'Clint Eastwood', but as the Jimmy Stewart, the aw-shucks anti-hero who did it better then anyone else.
The Clock (1945)
Two-lonely, average souls. Overwhelming New York City. Two days. Circa 1945.
There is a romance never before seen in "The Clock", mainly due to the unprecedented chemistry between Judy Garland and Robert Walker. A love story unravels while another one strikes you through the camera. Beautiful Judy, all in silver, finally shows her beauty in full bloom as an adult while also not singing a note.
The plot is very simple. Almost too simple--two individuals who literally stumble over each other in New York's Pennsylvania Station, spend some time together, and fall helplessly in love. Almost seems too far-fetched, eh? But it's not. Minnelli does a remarkable job conducting the two leads, with timeless scenes at Central Park, the Italian restaurant, and the milk truck. Everything seems so right--the way that Garland and Walker make conversation, suddenly want to know more about each other, and have a grand old time together while meeting new people in the process.
The raw chemistry between Garland and Walker leads me to the part of the film that truly took my insides and messed with them a little. By not giving away too much--they find themselves on a date, getting a lift from a milkman (played superbly by James Gleason--who cares if he's not looking!) that brings their date to a turn for the best. A small adventure occurs and once it's all over, you can't help but love Joe and Alice. Morning comes and we find the two leads wanting to spend Joe's last day together and so they do. They walk around the city and get to the subway, only to find themselves in a situation that messes with the love you've been building for Joe and Alice. It's an amazing turn in direction that could have been done so poorly but was not. Actually, the whole movie could have easily been done poorly, but while watching you can see the care that Minnelli puts in, as if his own love for Garland is the movie, and Walker is just a surrogate for him.
There is just too much to talk about with a film that literally has it all. Do yourself a favor and watch it soon.
"The Clock" is just an excellent, excellent film. The best romance I've seen as a film-goer, and I'm ecstatic I now own this on DVD.
Well made regardless of accuracy
Being a musician, this film resonated with me, and provided me with vivid flashbacks of feelings I endured when I was in band competitively trying to get the first chair horn parts in symphonic band. The strange thing is I have come across plenty of other individuals (who are also musicians) that hate this film, and I mean HATE this film because they feel this does not accurately showcase the music industry or musical process. I suppose it all depends on the experience. Of course, I was never treated to the extreme measures that Miles Teller character endures from Simmons' hardcore ways, but let me just say that it doesn't take much to feel the pressure, especially when you really want a part. But regardless of how realistic the film is or how it makes me feel, the film is well made. So in my opinion, 'Whiplash' is an awesome film.
Miles Teller is on a crazy streak; doing some decent movies and putting in even better performances, but Whiplash definitely taps his greatest effort thus far in his incredibly young career.
J.K. Simmons hands in one of his finest roles, playing a mentor who taps the spirit of R. Lee Ermey in Full Metal Jacket, and throws 'acting punches' when you think the film can't get any better. Immediately as the credits began to roll I knew he had the Oscar.
The movie as a whole put me through a ride. My nerves were being toyed with as I watched Miles Teller's character share screen time with J.K. Simmons. The on screen chemistry is their and in full-bloom.
And what puts the whole thing together? The grade A soundtrack that acts as the lifeblood. See this film if appreciate jazz, young musicians and/or the musical process. My favorite so far from 2014.