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99 Minutes | Drama, Romance | 2000-05-22
📥 In the Mood for Love 2000
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88 Minutes | Crime, Drama, Mystery | 1950-08-26
📥 Rashomon 1950
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Rashomon beguiles through the torrential downpour of fabrication. “It’s human to lie. Most of the time we can’t even be honest with ourselves”. Honesty. Deceit. Contradiction. A crucial part of human preservation is the requirement to lie. Intentional or accidental, it’s within our ancestral blood. The unprejudiced can succumb to the immoral values of deceit, either through meticulous storytelling or scattershot deception. Even the truth can be distorted by one’s self-absorbed ego. The mutually contradictory stories of a bandit, Samurai and his wife, during a police questioning of an ambush, rape and murder, provides Kurosawa with the leverage to thematically explore the depths of human duplicity. A narrative conveyed through the perspective of four individuals, each telling a variation of the same event and asserting it as the truth. Yet who is moral? Who is verifiable?
The answer lies within the embellishments of mankind. The egotistical residue enveloping the desires for personal gain. The bandit, openly admitting to the events in question, proud of his barbaric conquest. The wife, subjecting herself to sorrow and helplessness, innocently scarred from the visceral crime. The Samurai, communicating through a spiritual medium, self-gratifying his noble demise. And the distant woodcutter, examining the various preceding stories, acting as the fragile bystander solidifying his story as the whole truth. But when characters reside in a downbeat world where “you just can’t live unless you’re what you call selfish”, is anyone’s depiction correct? Is lying for personal gain and visibly stealing an abandoned baby’s clothing the same selfish endeavour? Variational stories so similar yet so different in tone. It all comes down to the genius that is Kurosawa.
Depicting egoism through embellishment, not just through the verbal tales of the living, but also beyond the grave. Signifying the requirement for flattering falsehood, even when life has been fully exerted. It is the impossibility of human nature that provokes us into fabricating the most obvious details. Never has such an influential film, shrouded in its own classicism, infiltrated my soul through its thematic examination of human psychology as much as this did. Every word. Every detail. Every deadpan look into the camera. Every tracking shot that showcases the glistening sun of truth through the obscurities of darkened natural foliage. It’s perfect.
The imperfect gender politics of feudal Japan (“women are naturally weak”) delicately inverted to portray the weakness of humanity, regardless of gender. Utilising the subjectivity of the woodcutter’s perspective, and regarding it as the most truthful conclusive narrative, mankind is objectively weak. And it’s only through our own digressions that we manufacture the strength of the soul. Kurosawa’s symbolic attentiveness never deviated from this examination. His rampart artistry poetically manifesting the beauty of mystery. Invoking the investigative mind of human psychology. And once that overcast storm dissipates, revealing the warm beating rays of honesty, the overwhelming sensation of enlightenment will seep through.
A synergistic vitality equalling that of Mifune’s energetic quadruple performance. Each tale altering the personality of his bandit blood. Hysterically laughing at the face of adversity, to unbearably breathing from profuse fear and sin. The nuances are not exhumed just from the enigmatic cast. Kurosawa himself orchestrated a tantalising, influential and innovative mystery that combats the perception of regressive culture. It’s never retrograde nor unprogressive. It is however, and I can utter this with adorned confidence, perfect.
Short, sharp and sensational. Relatable on a thematic and personal level that transcends the discourse of time. Apt now as it was back then, only proving that humanity is cemented in deceit and acts of selfishness. As with any Kurosawa feature, the mind must be prepared for allegorical beauty. Rashomon is no different. Rashomon is painted with silky smooth brushes, illustrating an unconventional technique of storytelling through visceral imagery. Rashomon quite simply acquires the perfect rating. An undisputed classic that justifiably conceived, what is now commonly known as, “The Rashomon Effect”.
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114 Minutes | Adventure, Comedy, Family | 1985-06-07
📥 The Goonies 1985
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Ah, kids adventure films, how fondly we remember.
In an effort to ward off property developers and save the Walsh's from having to move away. Mikey Walsh, Brand Walsh and their intrepid friends, set off to look for pirate treasure they believe exists after the discovery of a dust covered map.
Fun fun fun! Treasure, pirates, booby traps, crooks, weird cellar dwelling humans, water slides, wishing wells and budding teenager romances, The Goonies has it all.
Directed by Richard Donner and written by Steven Spielberg and Christopher Columbus, The Goonies is one of those rare animals that thrills the children and bewitches the adults in equal measure. Romping along at a fair old click, the film never stops to pause for breath, thus dragging the viewers along for the ride.
There is no expense spared with the production (the sets are delightful) and the cast are mostly engaging. There's some minor annoyances, such as the girls being adventure caricatures, but itches are easy to scratch if you have engaged from the off with its fantastical charms.
It's a film that once loved in childhood should hopefully stay far beyond into your adult years. A junior Raiders Of The Lost Ark perhaps? Maybe not, but still one wholly satisfying action adventure experience, one that's standing the test of time for many of us with our fondly nostalgic glasses perched delicately on the end of the nose. 8/10
Such a classic!
Glad they shown this at the cinema when it reopened - it looked amazing in the big screen!
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108 Minutes | Crime, Drama, Mystery, Thriller | 1944-06-14
📥 Double Indemnity 1944
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It's definitely hard to pin down a personal favourite Wilder film, though I tend towards his earlier masterworks such as 'The Lost Weekend', 'Sunset Boulevard'...and THIS. He was one of the finest at getting straight through the bullshit and to the heart of all things noir (as the immortal Jean-Luc Godard stated, 'All I need to make a film is a man, a girl and a gun').
Barbara Stanwyck is one of my favourite actresses of the period, and is a classic 'femme fatale'. I've never been a huge fan of Fred MacMurray, but his 'nice guy' persona is used to sheer advantage by Wilder, and he end up both doing his finest work for Wilder (here and in 'The Apartment') and being the ultimate noir male protagonist. Interestingly, one of my favourite actors, Edward G. Robinson, thought so much of the script that he opted out of his demand of never doing a supporting role. Many people admire Wilder the director, but as a writer (or co-writer) he's just as cinematically important and influential.
Like any other film of his, at least that I've had the pleasure to see, it's worth a purchase and re-watches. The dialogue, especially, is simply fantastic. I'd take just one of his early works over a hundred of the films Hollywood churns out nowadays. They're simply that better and intrinsically satisfying. Immortal cinema.
A banner movie from film noir's classic era.
Double Indemnity is directed by Billy Wilder and Wilder co-adapts the screenplay with Raymond Chandler from the novella written by James M. Cain. It stars Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. Music is by Miklos Rozsa and cinematography by John F. Seitz.
For a film lover such as myself it feels redundant writing a review for Double Indemnity, because quite simply there's nothing to say that hasn't been said already. The esteem it is held in is justified, it's a razor sharp noir across the board and can be put up as one of the classic noir era pictures that got lovers of the form interested in the first place.
Based around the infamous Snyder/Gray case of 1927, Wilder and Chandler fill the story with a sinister cynicism that is palpable in the extreme. With a script positively pumped with hard boiled dialogue, a simple case of murder becomes so much more, a labyrinth of devious cunning and foolishness, with a trio of top performances crowning this topper.
Technically via aural and visual work the story gains extra spice. Rosza provides a score that frays the nerves, imbuing the sense of doom and edginess required for plotting. Seitz excels, the photography a trademark for noir, heavy shadows, abrupt camera angles and menacing shards of light come to the fore.
And to top it all off, it gets away with so much, a real censorship baiter. The story takes a journey to the dark side of morality, and the makers, bless them for they know what they do, gleefully tease the production code to give film noir fans a reason to rejoice.
Quintessential stuff. 10/10
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116 Minutes | Adventure, Comedy, Science Fiction, Family | 1985-07-03
📥 Back to the Future 1985
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**Entertaining**
A man goes back in time to save his mother - or something like that anyway - I was too entertained to fully grasp what was going on. Seriously, this film moves so fast that you will find yourself having to try your hardest to keep up with it.
Great movie. Great soundtrack. Great performances. A shame that the sequels did not live up to this one.
- Ian Beale
Earth Angel And The Nuclear DeLorean.
It's 1984 and director Robert Zemeckis, fresh from the success of Romancing The Stone, is trying to film Back To the Future - a film about a young teenager called Marty McFly who is accidentally sent back in time to 1955 and inadvertently risks the future of his family. Zemeckis is troubled by his leading man, Eric Stoltz, who just isn't capturing the youthful teenager exuberance that he wants for Marty McFly. Stoltz is jettisoned and in comes Michael J. Fox who was busy wowing audiences in the hugely popular sit-com Family Ties. Fox had been first choice anyway but couldn't get a release slot from shooting with Family Ties. Luckily the wasted time with Stoltz created an opening for Fox to play Marty McFly as well as work on the show - the result of which would turn out to be one of the most beloved fantasy trilogies of the modern era.
It's honestly hard to find anyone who seriously doesn't like Back To The Future part one. The second one has its critics, because, lets face it, it's a bridge between two better films, while the third film loses some people because of its Western themed plot (the heathens that they are). Yet really this trilogy opener is as near perfect cinema for all the family as you could wish to view. It's a water tight script from Zemeckis and Bob Gale that not only encompasses witty time travel paradoxes, but also dares to be dramatic into the bargain. The first 15 minutes contains a real shocker that is as cheeky as it bold, something that really gives Marty's 1955 quest a real urgency that the audience can buy into as the comedy relief then comes in spades. The set pieces are first rate - hello skateboard - hello rock "n" roll 101, and the makers have fun in winking towards other notable sci-fi pictures along the way. Hell they even manage to deal in an Oedipal strand that is tasteful, handled superbly and garners guffaws aplenty. No mean feat that last one actually. Alan Silvestri provides a whirring & pleasing score and the theme song, The Power Of Love, by Huey Lewis & The News, is infectiously enjoyable. Finally it's the cast that seal the deal for why this is as good as it gets for fantasy escapist cinema. Fox, Christopher Lloyd, Lea Thompson, Thomas F. Wilson & Crispin Glover are the perfect quintet, each feeding off each other and doing justice to the excellently constructed story.
Made for $19 million, Back To The Future went on to make a worldwide gross of over $381 million, and those are the kind of figures you really can't argue with. It's snappy, happy and down right funny, so really, if you don't like Back To The Future then seek medical help immediately. 10/10
"Robert Zemeckis remains the beating heart of modern science-fiction films"
The first time I have ever redacted a critic was down in 2015, since then, I learned how impressive productions could change lives and start movements throughout the world. Back To The Future represents one of those films, such a powerful, inspirational, comical, heartwarming, and innovative one. Probably, McFly and Doc Brown proffer the best duo-interaction I have ever beheld in an 80s film (which, happily, could end up being top-notch of all time). There are almost no blunders to be found because the flick essentially represents an instant classic of cinematic history as if to say, pure perfection. From this moment on, you might be thinking about the reason of having assessed the film as absolute perfection score.
First and foremost, we discuss relating to breaking formulas and experiencing new paths, in other words, means opening new cinematic genres and improving them, that is to say, films which leave a significant legacy. Back To The Future follows the proper steps to provide that brand-new feature we were all hoping. Secondly, we balance the film's highest moments and ordinary moments with humour, some 50's nostalgia, some drama and (even) some action moments which results in a win-win the film provides a mixture of genres carefully well-managed and accurately-needed. Third, if the goal is the production of an instant classic, we will need to focus on the cast, because they are the ones who will perform during the whole film, they embody the heroes and villains; therefore, they become fundamental. Michael J. Fox and Christopher Lloyd are the film's core, as excellent as Vince Vaughn-Owen Wilson's 2005 Wedding Crashers, I daresay.
Finally, but not least, the soundtrack and the environment, in spite of ending up being complementary, provides not only a trusting reality but an opportunity to show the audience the plot's main incidents. During the display, we will notice the most recurrent spots are the 80's and 50's at school, at traditional coffee shops and the streets, not forgetting the excellent pop-culture references introduced.
The audience ought to congratulate Robert Zemeckis' mind and, also, the crucial support of his staff (one of whom was Steve Spielberg) owing to this masterpiece. The montage is proof that everyone who has an incredible imagination is capable of creating chef-d'oeuvres, delivering the audience such an extraordinary time. What is more exhilarating is the fact that then-president Ronald Reagan loved the film to the point that he used famous BTTF quotes, for example, during his 1986 State of Union Adress. What an achievement ladies and gentlemen!
(90/100)
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116 Minutes | Drama, War | 1987-06-26
📥 Full Metal Jacket 1987
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**The second half is better than the first half.**
A film of two halves.
The first half of the fiim focuses on the training of raw recruits and features shenanigans we have seen countless times before - think _Stripes_ and _Police Academy_.
The persecution of the fat guy - a scenario we had already witnessed in Stripes and Police Academy ( "_I could show a movie on your butt, fatso_!"- Lt Harris, Police Academy) is here played out to maximum effect. The fat guy who freezes atop a climbing frame is the central plot here with Matthew Modine's character playing second fiddle to all of the _Leslie Barbara_ stuff.
The second half of the movie at least gives us something we were not expecting when a sniper's identity is revealed.
- Ian Beale
Released in 1986, Full Metal Jacket is Stanley Kubrick's film about Vietnam, adapted from a novel by the reclusive and bitter Vietnam veteran Gustav Harford, and then further expanded by acclaimed Vietnam journalist Michael Herr.
The film breaks down neatly into two very different parts, though both are seen through the eyes of young United States marine J. T. "Joker" Davis (Matthew Modine). In the first act, Davis makes his way through Marine basic training with a motley group of other recruits under the hellish command of gunnery sergeant Hartmann (R. Lee Ermey). Joker watches as Hartmann bullies an overweight and dim-witted recruit cruelly nicknamed Gomer Pyle (Vincent D'Onofrio), until Pyle explodes into murderous revenge. In the second act, now set in Vietnam where Joker is doing a tour of duty as a military journalist, the protagonist and his fellow Marines find themselves on the front line during the Tet Offensive and Joker witnesses firsthand the savagery of war.
Few films consist of such drastically opposed parts that differ in setting and tone and don’t have any overlapping characters besides the protagonist (and one minor character from the boot camp scenes). Full Metal Jacket has often disappointed viewers because the first half is so thrilling that it proves a hard act to follow. That's all down to R. Lee Ermey, who actually was a drill instructor during Vietnam and initially served only as a technical consultant before Kubrick decided to let him play the role and improvise. Ermey acts with a white-hot intensity, realism, and brilliantly worded insults and obscenities that no screenwriter could ever have come up with.
As a young man, I too felt that the film was a letdown once it moved past the witty quips and goofy camaraderie of the boot camp scenes. With time, however, my appreciation for the film as a whole has only grown. The two-part structure now seems to be a strong yin-yang structure: the first act is a vision of order, while the second is all chaos. Furthermore, the second half is a moving statement of how war is often senseless. Joker and his squad, while on patrol for an enemy they cannot even identify and whose ideology or culture they know hardly anything of, begin to be targeted by a sniper. Several men perish before the sniper is found and neutralized, and all that death is pointless: it doesn't contribute in any way to victory for either side. The brutality of World War I trench warfare, where dozens of men could perish for merely a foot of conquered ground, is shown to have persisted through the American quagmire in Southeast Asia.
That said, the film does have its flaws. One is the unrealistic depiction of the Vietnamese landscape. Kubrick had a great fear or dislike of foreign travel, and he insisted on shooting the whole film in East London. Having merely a few palm trees shipped in is a poor replacement for a real Southeast Asian shooting location with its humidity and insects, and in the scene that is meant to show a lively Vietnamese town square Kubrick obviously had the same few cars driving around in circles. It's strange how a director who was generally so perfectionist, could be so careless about locales (this only got worse with his next and last film, Eyes Wide Shut, with its inauthentic stage set New York City). There are also some anachronisms that this director and his technical advisors should have noticed.
Still, even a flawed Kubrick film is classic cinema.
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106 Minutes | Drama, Romance | 2020-02-14
📥 The Photograph 2020
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