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Reviews
Red Eye (2005)
Red eye for suspense ...
Brisk and effectively staged thriller that holds your attention and doesn't outstay its welcome. An excellent pair of central performances anchor a film which is essentially a two-hander in a confined location. It could have all felt a bit rigid and staged but Craven handles the shifts in tone well and gives us a slice of early Hitchcock with modern styling. The main plot thread / 'macguffin' is rather quickly rushed over towards the end to capitilise on the central protagonists' enmity but it works well in giving a more involving climax and better emotional payoff. Tense and engaging, but without losing its humour, this is a thoroughly entertaining and diverting piece of thriller hokum.
Inglourious Basterds (2009)
Sergio by Quentin
Audacious, disjointed and self-indulgent but nonetheless tremendously enjoyable. Gloriously immature macho film-making created by square-eyed geeks - what is there not to like?
Littered with Leone references and essentially an exploitation version of Melville's Army of Shadows with a fantasy resolution, this is adolescent wish fulfillment cinema executed with verve and no shortage of chutzpah.
The opening sequence sets the bar high, and the rest of film does not always live up to it; Waltz's performance also dominates the characterization stakes leaving Pitt's looking like crude parody, but strangely it does all hang together and take the audience on a rollicking ride.
Miller's Crossing (1990)
Sharp and witty but thoughtful
'Miller's Crossing' is a cleverly constructed and sharply written piece of work in which the dialogue plays as important a role as the action in creating the drama. It is seemingly the tale of an amoral existentialist hero, Tom Reagan, negotiating his way through a complex situation, rather in the manner of a Jean-Pierre Melville film such as 'Le Doulos' or 'Le Samourai'. However the film is deeply concerned with questions of loyalty and obligation, and Tom's final choice is actually moral one. The film is carefully shot in an autumnal palate but is staged without extravagance and makes excellent use of the interior sets and few locations. The tight structure and deliberate air of unreality, which is heightened by deft comic touches, separates this from more portentous crime dramas such as 'The Godfather' or 'Once upon a time in America', and gives 'Miller's Crossing' its own unique place in the genre.