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Ziglet_mir
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:
http://www.imdb.com/list/zM_VnsTTkAw/
My Top Films of Each Decade:
(Perfect Scores in BLUE)
1890's Shorts
The Haunted Castle
Squelette Joyeux
1900's Shorts
A Trip To The Moon
Le Melomane
The Fat and The Lean Wrestling Match
1920's
Sunrise: A Song of Two Humans
Faust
The Cabinet of Doctor Caligari
Nosferatu
The General
The Thief of Baghdad
The Last Laugh
1930's
Port of Shadows
The Lady Vanishes
Mr. Smith Goes To Washington
Make Way For Tomorrow
Bringing Up Baby
The 39 Steps
Number 17
1940's
Rope
The Clock
Gaslight
Out of The Past
The Set-Up
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
Buck Privates
Little Giant
1950's
Rear Window
Sweet Smell of Success
Vertigo
Der Verlorene
12 Angry Men
Harvey
On The Waterfront
The Killing
Dial 'M' For Murder
Pickup On South Street
Paths of Glory
North By Northwest
Strangers On A Train
Abbott & Costello Meet The Invisible Man
1960's
The Hill
Once Upon A Time In The West
The Apartment
Dr. Strangelove
Cool Hand Luke
Fail-Safe
The Pawnbroker
2001: A Space Odyssey
It's A Mad Mad Mad Mad World
Bullitt
1970's
The Conversation
Frenzy
Taxi Driver
The Godfather II
The Godfather
Alien
Stalker
The Onion Field
The Warriors
Badlands
Life of Brian
The Adventure of Sherlock Holmes' Smarter Brother
Return of The Secaucus Seven
Monty Python & The Holy Grail
Manhattan
1980's
Matewan
Blade Runner
Planes, Trains & Automobiles
Brazil
Paris, Texas
Prince of The City
My Neighbor Totoro
Blue Velvet
Back to the Future
Crimes And Misdemeanors
Repo Man
Come And See
This Is Spinal Tap
Videodrome
Parents
Say Anything...
The Breakfast Club
Witness
Clue
Gandhi
1990's
Reservoir Dogs
Limbo
Lonestar
City of Hope
Shadows and Fog
The Usual Suspects
The Last of the Mohicans
Lost Highway
Unforgiven
Men With Guns
Rushmore
Delicatessen
Europa
A Shallow Grave
Fargo
The Fisher King
Tombstone
Twin Peaks: Fire Walk With Me
American History X
L.A. Story
Quick Change
Trees Lounge
Swingers
Three Colors: Blue
Reservoir Dogs
Bottle Rocket
Lonestar
Waking Ned Divine
JFK
Eyes Wide Shut
Glengarry Glen Ross
Coupe De Ville
2000's
There Will Be Blood
Eternal Sunshine of The Spotless Mind
Mulholland Drive
The Machinist
A Serious Man
Gran Torino
Lost In Translation
The Royal Tenenbaums
Donnie Darko
Sunshine
Harry Brown
The Departed
Inglourious Basterds
The Imaginarium of Doctor Parnassus
2010's
Drive
The Master
The Hateful Eight
Whiplash
Django Unchained
Buried
Killing Them Softly
Dredd
The Martian
Brooklyn
The Perks of Being a Wallflower
Interstellar
True Grit
Nightcrawler
Gravity
The Artist
The Help
The Fighter
My Favorite Actors
John Cazale
John Candy
James Stewart
Daniel Day-Lewis
Joaquin Pheonix
Bill Pullman
Everett McGill
Bill Murray
Jason Robards
Harry Dean Stanton
Jack Lemmon
Paul Newman
Chris Cooper
Bryan Cranston
Steve Martin
Lou Costello
Lee J. Cobb
My Favorite Actresses
Grace Kelly
Madelaine Kahn
Amy Adams
Shirley MacLaine
Mary McDonnell
Janet Gaynor
Vanessa Martinez
Thelma Ritter
Eva Marie Saint
Carey Mulligan
Madelaine Stowe
Frances McDormand
Greatest Scenes In Film *WARNING POSSIBLE SPOILERS AHEAD*
Matewan (1987)
-Joe Kenehans's monologue on equality
-the shootout at the end
The Hill (1965)
-trudging the hill
-Jacko King's breakdown
-Prison riot
-The entire ending
Sunrise (1927)
-The barbershop
-The photoshoot
Once Upon A Time In The West (1968)
-The intro
-Cheyenne boarding the train
The Apartment (1960
-Baxter's story about the bullet in his leg
Limbo (1999)
-The diary readings
-The end
Brazil (1985)
-The Kiss
Rear Window (1954)
-Lisa's adventure into Thorwald's apartment
On The Waterfront (1954)
-The long walk back to work
Europa (1991)
-Father's bath
-The end
Paris, Texas (1984)
-Confronting the wife
Planes, Trains, And Automobiles (1987)
-The Bravewood Inn
-Do the Mess Around!
-Dropping the F-Bomb
Drive (2011)
-Intro
-Motel scene
-elevator scene
The Last of The Mohicans (1992)
-Final 25 minutes (specifically Chingachcook's revenge)
Blue Velvet (1986)
-Ben's Apartment
A Shallow Grave (1994)
-The final twist
Rushmore (1998)
-Blume smoking in the elevator
-Blume destroying the bike
Eternal Sunshine of The Spotless Mind (2004)
-The beach house
Mulholland Drive (2001)
-Winky's Diner
-The cowboy
Delicatessen (1991)
-Fixing the bed spring
The Set-Up (1949)
-The Fight
The Fisher King (1991)
-Grand Central turning into a ballroom
-The end
A Serious Man (2009)
-Intro
-the end
Lonestar (1996)
-the end
Tombstone (1993)
-Doc Holliday's duel
Gran Tornio (2008)
-Kowalski's stand
Awakenings (1990)
-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
Alien (1979)
-getting into the space suit
The Royal Tenenbaums (2001)
-Ritchie's shave
Swingers (1996)
-the unexpected call
Who Done It? (1942)
-Rooftop Finale
Fail-Safe (1965)
-the end
Trainspotting (1996)
-Coming Down
Bottle Rocket (1996)
-the robbery
There Will Be Blood (2008)
-'I drink your milkshake!'
Say Anything (1989)
-the end
Favorite TV Shows
Twin Peaks
Breaking Bad
Lost
Arrested Development
The Office
Cowboy Bebop
Law & Order
Freakazoid!
Trailer Park Boys
Workaholics
Favorite Bands:
The Who
They Might Be Giants
Primus
Queen
Flogging Molly
The Presidents of The United States of America
Soul Coughing
Rush
Gaelic Storm
Oingo Boingo
Cake
Tool
Big Country
Dispatch
CHVRCHES
Ween
Slightly Stoopid
Pink Floyd
We Were Promised Jetpacks
Favorite Single Artists:
Paul Simon
Billy Joel
Tom Waits
Stevie Ray Vaughn
Francoise Hardy
Dean Martin
Leonard Cohen
Jonathan Coulton
Favorite Albums:
Heartattack and Vine - Tom Waits
Cold Spring Harbor - Billy Joel
Join Us - They Might Be Giants
Float - Flogging Molly
Ruby Vroom - Soul Coughing
Bang Bang - Dispatch
Graceland - Paul Simon
Brown Album - Primus
Ratings
Most Recently Rated
Lists
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HAHA! Comedians!
Best Actors (IMHO)
Best TV Shows of All-Time
Best Actresses (IMHO)
Recent Check-Ins
Reviews
Touch of Evil (1958)
Orson Welles and Co. Having Fun
Touch of Evil showcases Welles' directorial talents with campy, B-film fluff (not a bad thing), and great character acting by a slew of familiar faces. Yes, yes... everyone talks about the opening shot, which is most definitely brilliant, but it isn't even 1/20th of what makes this film awesome. Once the beginning 5 min ends we are introduced to all the characters ranging from Heston's lack-of-mexican-Mexican D.A. Vargas and the filthy-pig sweating, cop-gone-bad Hank Quinlan played by the masterful Welles himself.
The quick edits and wide-angle shots of the dirty alley streets show us we are in for a ride, as we see criminals and seedy characters chillin' in the background of the shadows wondering what their next moves will be. The film doesn't REALLY get cookin' until we see Quinlan confront the mob-boss Grandi in a scene of crazy escalation and groovy, GROOVY music (I swear I can still hear it!). This in particular reminded me of moments from Kubrick's The Killing only made two years prior, which in many ways I recall being similar to this.
All-in-all it seems to me that Welles had fun with this one, as we are menaced with his presence while he is on screen and can barely recognize him covered in layers of make-up and prosthetics, and also how everyone brings to the screen a raw energy rarely achieved by an ensemble. Which brings me to... how it's almost comedic when we are watching scenes involving Dennis Weaver's character as the incredibly bizarre motel manager, and reading the trivia confirms it as we learn how Welles told Weaver to act. HILARIOUS. Perhaps it is the second-best performance in the film behind Joseph Calleia's Police Sargent Menzies.
It seems weird that Heston's character leaves his wife in questionable scenarios but that is definitely intentional to the character, and Heston himself doesn't even try the Mexican accent, which I think is a minor issue. After all if Heston had attempted the accent we may have ended up with a competitor against Sterling Hayden's floundering Swedish accent in the campy B-film Terror in a Texas Town also released the same year as Touch of Evil.
Anyway, kidding aside, I think Touch of Evil is a great film with great moments and talent (can't fail to mention Joseph Calleia was ROBBED of a Supporting Oscar for this one, seriously). Even with arguments of flaws going against it I think Welles and Co. had fun making it.
Solyaris (1972)
The Extreme Outside Setting, Looking In
My first written review of Tarkovsky, and my third film of his I have seen (behind Stalker and Andrei Rublev).
So far this is Tarkovsky's most accessible film. Obviously 'more accessible' does not mean worse, because as my movie-watching experience goes it has affected me profoundly--more than Andrei Rublev, and possibly more than Stalker. Solaris is one of the most beautiful films I have ever seen.
Like all of Tarkovsky's visual poems, there are stunning moments of nature; a gurgling stream, rustling leaves upon a branch or marsh weeds falling victim to the eloquent movement of water, and while what we are seeing is simple, Tarkovsky captures it like no other. Solaris' opening shots present these marsh weeds moving; flowing, and I can do nothing but watch. Tarkovsky certainly had a talent, and he may very well be at the top of the list for making film pure poetry.
The actual plot of Solaris is intriguing and fresh. We are introduced to the crew of a space mission to the planet Solaris by video--our main character Kris Kelvin, a psychologist, is eventually enlisted to investigate why the crew has gone insane. We learn that the atmosphere of the planet has an ability to reach into our memories and provide us with a manifestation of someone who represents that past the most, and Kelvin is caught up in Solaris' powers when he discovers his dead wife on the space station--alive and well. She is not her real self of course, but the amalgamation of particles the planet's atmosphere can manifest into when it reaches into our memories. Slowly, does Kelvin get dragged into the past as he falls in love again, tragically--knowing very well she is not his real wife. What the film gives us is a masterful introspection of love and life and what it means to be human, at a time when the characters are no where near Earth. Solaris is certainly unique because most sci-fi films give you the feeling you're in space and in ways also feel claustrophobic, but this does the opposite. We know we are in space and near a planet that is incredibly far from Earth, but it doesn't ever feel sterile or cold like space should be (2001: A Space Odyssey). The conversations between Kris and his surrogate-wife are heart-wrenching, and pushes further the question, 'what does it mean to be human?'
I may be at loss for some of the thematics in this film, but I took away what made sense to me, and it is beautiful.
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 (2016)
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. This is not to say that you have to be a poet to connect to this beautiful film or Adam Driver's character of Paterson. There is a lot to like here, and it's all so plain and simple. The routine of the characters 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' just as an example). 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 Ron Padgett's poetry (the poet of most of the poems we see and hear in the film). 'Paterson' doesn't try too hard to be beautiful and that's exactly the result. There is nothing over the top, and the occasional words that fly on the screen help aid the visual poetry we already see.
Adam Driver hands in my favorite male performance of 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.
Victoria (2015)
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)
Punch-Drunk Love
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 intently 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.
Watchmen (2009)
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.
Firecreek (1968)
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)
Timeless Love
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.
Whiplash (2014)
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.
McConkey (2013)
McConkey
I saw this awesome documentary at a premiere in my hometown, and I didn't know very much about the film prior to it coming out. I tell you, this is one of those films that makes you rethink your life. I did, and I kept thinking about how one man made such a crazy impact on the world. Of course, he only revolutionized skiing, but it comes down to so much more than that. Shane McConkey is a hero and a legend. I don't think I could ever do half the stuff he did, but after watching the documentary I am completely inspired to give a lot of crazy new things a shot. Watching this in a full theater was thoroughly entertaining when the funny stuff came up. Many people were on the floor laughing from McConkey's outlandish and spontaneous behavior, and even though the movie ends on a relatively sad note, you can't help but smile when you think back on the larger-than-life personality the last hour and forty minutes entertained you with. I highly recommend this venture, especially if you're looking for gorgeous views, intense winter sports, a high-profile bio, and a great story. Also, one helluva soundtrack.
See ya!
City of Hope (1991)
A cry for help is the world's unrealized motto.
John Sayles knows how to write a movie. More than that, however, Sayles knows how to compose such a fantastic ending to a movie. He can weave concepts and ideas from scene to scene and from character to character showing us all the different shades of the spectrum while still maintaining a mostly unbiased view of politics and corruption. In Sayles' City of Hope, this is no different, and I am not surprised that as I peruse through it's film page that less then 2,000 people have viewed this cinematic genius at work. Throughout the film, we are introduced to an easy count of 30 characters, who we can understand and compare, whether they're on screen for one hour or one minute. Vincent Spano and Joe Morton hold the most ground and screen time while never letting the viewer down on their performance. While Tony Lo Bianco and John Sayles are nothing short of brilliant in their roles as well. But above them all, David Straithairn subtly steals the show with one helluva performance that we never take full notice of until the incredible ending.
I love how Sayles gave himself and Kevin Tighe the ugliest characters in the film (after seeing him do so well in Sayles earlier masterpiece, Matewan). All I can say is that this film is absolutely worth watching. It reminds us (as it reminded me) how badly society needs help and how problems don't go away until it is finally realized that such problems exist. The separation between social classes is apparent and it is also the major issue that Sayles weaves in and out of most of his character motives. Racial slurs, bigotry, prejudice, and politics are all where Sayles points the blame in this film.
And by the end, Sayles has us wanting more as we see the lowest and most unnoticed character in the entire film shout for help and is totally unheard. 10/10
Repo Man (1984)
"I'd rather die standing, than live kneeling."
"The life of a repo man is always intense," says Miller to Otto as they zip across the L.A skyline.
Repo Man is a fantastic venture into a world of wackiness well crafted by writer-director Alex Cox. There are funny one-liners, bizarre concepts, and quirky characters melded with solid acting (especially from Harry Dean Stanton and Tracey Walters), raw punk music, and incredible atmosphere. If there were any film to define a 'cult classic' it would be between this, Brazil, and Rocky Horror. From the familiar generic food labels to the lobotomized driver of the Chevy Malibu, we have a memorable film that subtly questions the choices we make and boldly answers the coincidental moments that happen in life.
The special effects may not work for everyone, but it all still holds up even after almost 30 years. This is a fun film. So sit back and enjoy it for what it is: an absurd and eccentric ride.
Repo Man manages to pack in references of religion, extra-terrestrial existence and the question of our own existence all at the same time. The repo men is a tough job that calls for bold action, and Otto tries to learn the way. As Bud says in the film, "I'd rather die standing than live kneeling." Highly recommended. 9/10
Harvey (1950)
James Stewart, the Legend
What a charming film, only hindered by a somewhat overrated performance by Josephine Hull. Elwood P. Dowd is possibly the greatest character ever seen on film as James Stewart plays the performance of his already incredible and legendary career. Harvey is filled with great comedic one-liners and situations of well-crafted irony and mockery.
But the greatest moment of the entire film is Elwood's touching and incredibly well-written monologue in the alley. I instantly replayed the scene to re-watch Stewart's magical charisma take full swing. It was one of the few moments I can recall in recent time that has really "Wowed" me.
Elwood P. Dowd: Harvey and I sit in the bars... have a drink or two... play the juke box. And soon the faces of all the other people they turn toward mine and they smile. And they're saying, "We don't know your name, mister, but you're a very nice fella." Harvey and I warm ourselves in all these golden moments. We've entered as strangers - soon we have friends. And they come over... and they sit with us... and they drink with us... and they talk to us. They tell about the big terrible things they've done and the big wonderful things they'll do. Their hopes, and their regrets, and their loves, and their hates. All very large, because nobody ever brings anything small into a bar. And then I introduce them to Harvey... and he's bigger and grander than anything they offer me. And when they leave, they leave impressed. The same people seldom come back; but that's envy, my dear. There's a little bit of envy in the best of us.
Overall, highly recommended. Wonderful cast, amazing writing and Stewart shines in all its glory. 10/10
Amigo (2010)
Providing Perspective
Being an American, I have taken my fair share of history courses and studied many of the wars America has been in ever since it's formation and eventual birth in 1776. Just like everyone else, I leaned about Francis Scott Keys and the thirteen original colonies, but above all that, I also learned about the many events and politics which led to our independence. In school, they teach us about WWI and WWII as well as The Civil War, The revolution, the French and Indian War, etc etc. However, as history is so big and vast it well comes down to the perspective of how it is written and how one receives it.
John Sayles has taken on an incredible project. He has done something only one other filmmaker has done, and portrayed all his characters and events in a very different perspective. I say we learn about all the big wars and we always root for America, but Sayles brings to the big screen something that even today we hold in contention, which is the right for one country to invade another. The Philippine-American war is something any American can say they've never heard of (for the most part). It is a part of history America never looks back at, and there are reasons why. Sayles chooses to show America as the invader; the people who don't belong in the situation at hand (such as the War in Iraq), and it is a very intriguing perspective.
The story focuses on a small garrison of American soldiers who have taken post at a small baryo in the Philippines. We're introduced to a whole array of characters with very solid acting behind them all. There are great turns by DJ Qualls, Dane DeHann, Lucas Neff, and Brian Lee Franklin supported by the promising Garrett Dillahunt and always wonderful Chris Cooper. But above them all Joel Torre steals the show as the main character, Rafael, who is also what the title refers too.
Sayles masterfully crafts scene after scene and leads us through a captivating story. Throughout the film, Sayles makes us wonder, "Who is right?" or "What if both sides are right?", while there is a heavy wondering of God and if doing what God says justifies your actions. But then, what about personal choice or following your heart? Between Rafael and his rebellious son, there is a rift. His son helps the colonials, while Rafael is restricted to do what he wishes and must follow the American law that resides.
This is a film I recommend to all who enjoy the 'forgotten' parts of history. What Sayles has done here is another remarkable job of writing and directing while also serving another very unique perspective to the events which happened during the Philippine- American War. It's wonderful storytelling that leads to another well-crafted and haunting John Sayles-esque ending.
Sunrise: A Song of Two Humans (1927)
A Simply Stunning Film
Sunrise: A Song of Two Humans (1927)
My third Murnau film, and the silent film I've probably been recommended the most behind Metropolis and Nosferatu. My review: As I write this I'm still wiping my eyes and blowing my nose because of a movie that has touched me deeply. A week or so ago I posted a thread to hear about everyone's greatest tearjerker to see what really pangs their emotional chords, and I wrote I wish it could happen to me. Well, it's happened.
Sunrise is everything I could have wanted in an emotionally ridden film. Murnau hits all the right buttons and conducts a more than masterful outlook on the relationship between a husband and wife; one that has seemed to be at it's end until a huge turn of events and feelings changes everything. Sunrise is poignant, beautiful, funny, charming, riveting, and subtly keeps you smiling. Even the word cards/word art have you wriggling in your seat when you see them melt on screen. I cannot recall a film since Matewan or The Hill that has touched me so deeply with some sort of emotion. I am only nineteen (inexperienced with serious relationships) yet feel for everything I saw happen between these two humans. The performances by George O'Brien and the incredibly charming and adorable Janet Gaynor are nothing but excellent. They are a great pair who convey the woes and laughs (ups and downs) of a relationship to near perfection. I have to say I was taken back a bit from all the hype this film was getting, but I have absolutely no regrets watching this and can understand where all the hype now comes from. All I can say is that I am in awe. Sunrise is a simply stunning film. 10/10 Masterpiece.
Murder on the Orient Express (1974)
Well Executed and Brilliantly Written
Just watched this flick yesterday. It's a rather under-looked piece of cinema from director Sidney Lumet who absolutely does not disappoint with this feature. The film is a Hercule Poirot detective/Agatha Christie vehicle that works really well. The cast is incredible with the like of Sean Connery, Michael York, Ingrid Bergman (who won an Oscar for her role in this), Lauren Bacall, Martin Balsam, Richard Widmark, Anthony Perkins, and Albert Finney who does a fantastic job as Poirot himself. Overall the film is well executed and brilliantly written (thank you Agatha Christie!)
I have found myself to really love Lumet's work. I don't give that many perfect scores and three of his films have that from me (12 Angry Men, The Hill, Prince of The City). Lumet is just an incredible storyteller even if he's had a lot more misses than hits. 'Express' is no different from his other work as it has an Oscar winning performance, great editing, a wonderful score, and (the greatest Lumet trademark) a film that takes place mostly in one setting.
A take my hat off to you, Mr. Lumet. A recommended film. 8/10
Limbo (1999)
Poetry in the Last Frontier
Before 1999 John Sayles had already brought himself into fame as one of the biggest names in Independent filmmaking. He has found his niche in writing for the screen and directing, yet he receives mediocre attention to what density his films carry. My all-time favorite film, Matewan (1987), is also by Sayles, and in Limbo, he has done something incredible bringing us a true-to-heart narrative in a small Alaskan town.
From the first moments of picture; of salmon restlessly waiting to find a place to go, until the heart-throbbing and hard-hitting ending we examine sub texts between the characters and their past. While the beginning may take a bit to set up shop on where Sayles exactly plans to take us, he does it methodically weaving dialog in and out of shots; interlocking sentence after sentence between different characters while at the same time making a point.
The Alaskan wilderness is a perfect setting because nature is unpredictable and Juneau (among other places) is one of the few areas in which all roads lead to virtually nowhere. Meanwhile, Sayles is just prepping us to realize we too as viewers of this narrative, are in Limbo. David Strathairn, Mary Elizabeth Mastrantonio, and Vanessa Martinez deliver wonderful performances that from the beginning reveal their character's interesting pasts. Strathairn seems lost ever since a boating accident that took two friends, and has never gone fishing since while Mastrantonio is a club singer constantly on the move to find a living and a place to keep her and her daughter happy. And finally Martinez is the confused teenager also lost for who she may be and where she belongs. She has a drifting relationship with her mother (Mastrantonio) and finds comfort when talking to Strathairn's character at work.
When the three are kept on an Alaskan island with nothing but the clothes on their back, a new element is subtly brought in when Martinez finds a long lost diary of a stranger. She begins reading passages by night as we delve into another world; a lost perspective that is incredibly poetic and raw with emotion.
As the backdrop strengthens we are soon deep into Sayles' fantastically created narrative. We think we know where the story is going, but right when you think you know the answer Sayles takes us in the complete opposite direction. It is unconventional storytelling and a film that brings us one of the greatest endings in cinema history.
Drive (2011)
Drive
Drive is a film to remember.
The subtle yet hypnotic 80's retro soundtrack pulls you into a different world that just screams cool. Even the unique retro feel of the hot pink credits in the beginning will have you wondering what kind of film you're in for.
Refn does a great job tying in character intent and 'drive' with the main plot of the story and conducts a wonderfully artsy show-offy film. Carey Mulligan is adorable and plays a woman in a hard place. Bryan Cranston plays a poor, sleezy mechanic who aids Gosling's character. The whole thing is relatively low-key, and in the end you can only be satisfied. The character development is great and there are no actions done by any characters that make you question them.
In my eyes, it goes down in the same category as Martin Scorcese's "Taxi Driver"; a great antithesis/antihero.
Ryan Gosling's character is one to remember and most definitely is his best role to date. You will not forget the moments his character turns serious and suddenly terrifying. It's a breath of fresh air compared to any of Gosling's other roles. The way his character shines in Drive is reminiscent to the mysterious desperado from when the greats of the golden-era of Hollywood reigned.
I feel that every action could not be questioned. I found myself agreeing with everything the characters did. Their actions justified their 'Drive.'
Wonderful cinematography and an overall sleek and stylishly made film. 10/10. A total art- house thriller.
Eight Men Out (1988)
Eight Men Out
John Sayles is just an unbelievable director. Every film brings something new to the table and Eight Men Out, is of course, no different.
This is a solid film about the famous White Sox Scandal during the 1919 World Series. The acting is excellent and everywhere you look you will be sure to notice some famous actor whether it is Charlie Sheen, David Straithairn, Christopher Lloyd, John Mahoney, Michael Lerner and the especially great John Cusack (plus the many others I did not mention). But aside from the great casting, this film ventures much further past the point if the series was just a fix or not. We see the internal struggles of all the players, their intentions, their goals, their desires, and what each one wishes to pursue and how they go about it.
The best example is David Straithairn (playing one of his most memorable roles, among many) when he says, "We were crooked, crooked players" as tears come to his eyes. And you can see that he was put between a rock and a hard place. He accepted the fix because he wasn't being paid enough, and the boss didn't provide any raises. So how else is he suppose to raise his rather young family?
And then there is the great John Cusack playing Bucky Weaver. He plays because he loves the game and money isn't so much a greater desire in his life. He is the "All-American Baseball Player" all the kids in Chicago look up to. When the scandal comes around he wants nothing to do with it and instead just play to win.
All other things aside, the most amazing part about Eight Men Out is the fact that it is an intense character study yet each character gets the same amount of screen time. So it is impossible for me to go over all the characters in a simple review.
All-in-all, John Sayles' has proved his writing and directing capabilities, although being very subtle about it, he is one of the best in the business. Those of you who haven't ventured into his work must. He is simply one of the greatest directors and one of the most masterful writers.
A solid 10/10
Blue Valentine (2010)
Left Empty (in a good way?)
This was my first viewing. After watching Blue Valentine (2010) I feel both saddened and slightly empty. The love story between Ryan Gosling and Michelle Williams is viewed through the present and their past. We are lead through (piece by piece) on how these two lovers met. The story beholds an interesting take on relationships as we are exposed to the circumstances which led Dean (Gosling) and Cindy (Williams) to be together. Dean is a playful and caring father while Cindy is uptight and also caring. They share a daughter and seem to have their lives figured out. But as we continue to watch, we find out that everything is not OK.
Blue Valentine has wonderful cinematography and editing. The music softly plays along with the story, and the two leads are very strong. There are clever parallels that run the story through (from the past/beginning of the relationship to the current/possible end of one).
My only real issue is that I can't figure out what Dean did wrong. He's not a severe alcoholic (alcoholic not even being the right word), he works, he's caring, there is no abuse and he loves their daughter Frankie. On this aspect of the movie, I felt angry towards Williams' character. She never outwardly spoke about her problems and was constantly moody. Albeit she was put through a rough situation at such a young and unprepared age. She was scared... yes, but why not confide in your partner about your feelings... what you desire, what you want to work on? So naturally the ending of this movie leaves me with a feeling of emptiness.
Passion Fish (1992)
A Beautifully Written and Well-Crafted Film
A film about a woman struggling to live with herself after a life changing accident. She is paralyzed from the waist down and drinks by the hour. She goes through a slew of nurses at her Louisiana home until she finally comes to terms with one played by Alfre Woodard. The film is supported by strong character moments and superb dialog.
Overall, it is a beautifully written and well crafted film. John Sayles does an amazing job directing, writing and editing. He extracts memorable performances from Mary McDonnell and Alfre Woodard, and never once shows an unnecessary scene or line.
Look out for a supporting role from David Straithairn and the subtle yet poignant cinematography that drives the film to its end. (The Louisiana Bayous never looked so good!)
Running on Empty (1988)
Some scenes may have you in tears
What a gem! First off, yes... what a deserved Oscar nod for River Pheonix! But may I add, where were the Oscar nods for Charlotte Lahti and Judd Hirsch?
Overall this film, directed beautifully by Sidney Lumet, catches the emotions off guard. We are taken into the life of the Popes on the run from the FBI. But as we watch the so odd routine they call their lives, we also get involved of what is to become of them. Will Danny and Harry have to live running from something they never did for the rest of their lives? We hope not.
We see River's shy, and polite character fall in love and audition for the renowned school of Juilliard in an attempt to break away from the mold. He struggles coming to terms with the fact he is a liar and has only hidden from things his entire life.
Some scenes may have you in tears (specifically Annie's scene with her father, and the ending scene with the family).
Anyway, just sit back and give this film a shot. You may be very surprised at what you see.
