Change Your Image
Upload An Image
Crop And Save
To Hollywood and Glory!
Here's the fun, irreverent, over-the-top (at times darkly humorous) film that reminds us NOT to take ourselves too seriously.
I understand the criticisms of this film, I just don't agree with them. Here we have an exercise in tone, not in plot. I've been watching this film since 1979 but it wasn't until College when I knew, with much relief, this Movie would be better remembered than its first impression.
When you view the USO dance as the breaking point, what comes before it acts as set-up and what comes after is the pay-off. The film builds a fevered, manic pitch. At the dance it starts to release that mania with a terrific dance sequence, one that feels like a 1940's musical, and nicely highlights the tense conflicts.
But then the fight starts, and...we're off.
The least interesting through-line is the romantic subplot, but the Director's Cut redeems it with Ned Betty's early discussion with his Daughter, Dianne Kay. In what I will describe only as "dad giving the birds-and-bees talk to his daughter," ends on an unexpected, shocking, and absolutely hilarious note. Everyone, and I mean EVERYONE, I know who has seen this film laughs at that scene. It hearkens back to Beatty's performance in "Network." Yeah, it's that good.
And I can't help but smile when I think of the two planes chasing each other down Hollywood Boulevard, weaving and spinning. And the young Japanese officer who cries "Hollywood!" at one point, but then later quietly whispers "hollywood" to himself as if remembering something he knows he can never see again. And Robert Stack inside that great movie house mouthing the lines to "Dumbo," even loudly clapping to no one but himself, as chaos erupts in the streets outside.
And of course John Williams' score. Of course.
No charge for this part:
Watch carefully and you see foreshadowing imagery for some of Steve Spielberg's future projects:
- The LaBrea Tarpits (Jurassic Park) - Kelso on the Submarine (Raiders of the Lost Ark) - The USO Dance (Indiana Jones and the Temple of Doom) - Walley and Dennis wear disguises to gain access to the USO Dance (Catch Me if You Can) - A Close flyby of a WWII single engine fighter plane (Empire of the Sun) - Wally remaining resolute in his Love for Betty as he's driven away from here(The Color Purple) - A Key Vehicle in a Motorcycle/Sidecar (Indiana Jones and the Last Crusade).
That last one's a stretch, but you get the idea. And there are more, but I leave those to better viewers than me.
Zero Dark Thirty (2012)
Well...it wasn't a "bad" movie.
The best thing I can say about the film is that the "vision" of what the director wanted was right up there on the screen.
(minor, minor, minor Spoiler in this paragraph only) And, in this case, it stunk. Unfocused. Unemotional. Unrealistic. I laughed during the scene when the female station agent told the checkpoint guards to "let him in...it's okay."
Was that supposed to be suspenseful? Or a demonstration of bad judgment? All but a couple of film-goers were openly laughing. It's the kind of moment one used to find in spoof films like "Airplane" or "The Naked Gun."
Remember how Comedy Central did not allow "South Park" to show Muhammed? Who decided we couldn't show Bin Laden? I mean...the movie is a crime procedural, and he's the target.
I'm not even inspired to write anything else...except Jessica Chastain was not good. At all. Whatever got the critics and award gurus together on this is beyond me.
If I cared more, I'd explain more. I'm bored enough writing about it.
Wait for Red Box.
Star Wars: The Clone Wars (2008)
Do I Really Have to Point This Out?
"Star Wars: The Clone Wars" feels more like 1977 than 1999. I jealously defend all six episodes of the live-action films; but the "flavor" of this film and the series is founded more on quick character arcs and fun action.
Less Money and Less Time (22 Minutes per episode) wield creativity. Works every time.
As well, the audience anticipation no longer revolves around "how did the 10 year-old with The Beatles hairdo become Darth Vader?" Instead, each episode relies on itself, opening up huge areas of unexplored Star Wars locations.
I'm still hoping for a young Han Solo, but no matter what I'll watch the TV show. It's good. Really.
The Avengers (2012)
:"Oh. So that's what it does."
I am in awe. Marvel and Paramount's slow, but purposeful, journey over the last few summers has paid off as I could never imagine. It worked, folks. It worked. The film is not necessarily a thought-provoking Acadey Award winning film, but is is entertainment of the highest order, with some wonderfully funny moments and, believe it or not, strong character development for the entire Cast.
Joss Whedon deserves the vast amount of credit. He reminds me of a young Steven Spielberg, around the time of Jaws and Close Encounter: young, successful, enjoying his work, and completely ignored by his elderly, and jealous, peers.
I suspect, and hope, the sequel will delve a little deeper into drama and the psyche of each character. This film is a great example of how to properly start an ongoing, and compelling, film series.
The Wolfman (2010)
Briefly, I must say this film exceeded my expectations. The role of father and son in the original film, as played by Lon Chaney, Jr and Claude Raines, was key to Talbot's tragedy. Here, Johnston and company have successfully upped the ante, and the father/son relationship becomes pivotal. The film asks where is the line between beast and man?; but I think it's really trying to say "When do children become their own person? Where does that line lie?"
And how much fun to see Abberline back at work? Wonderful and highly recommend, especially to fans of Classic Universal Horror.
Missing the point for the film's Conflict
This, I believe, is my first comment; so be kind.
Yes, you're all correct. There is not a "strong central villain" in this film. But you're missing the point. The conflict is Hancock Vs. Himself. His choice at the end of the film is what drives it to be a far better movie than most Super-Hero films (that and it's setting in mostly real life).
Think of it as "Bad Santa" for the Super-Hero genre, but more agreeable to a larger audience (nothing against Terry Zwigoff at all).
Anyhow, I'm not a big fan of "genre" categories anyhow. Take each film on its own.