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119 Minutes | Drama | 1998-10-30
📥 American History X 1998
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124 Minutes | Adventure, Action, Science Fiction | 1980-05-20
📥 The Empire Strikes Back 1980
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**Overrated **
An enjoyable film - just not as engaging as parts IV and VI. The argument that Jedi was ruined by little furry creatures is laughable as this instalment features a _little green muppet_. I was expecting Kermit and Miss Piggy to show up.
Once we get the impressive Hoth battle over with the film meanders and crawls along - padding out its running time with predictable romantic sparring and an extended and dull sequence on Degobah.
Things finally pick up again at Cloud City but not enough to justify the worship this film receives. I much prefer _Return of the Jedi_ to this one - at least Return of the Jedi gets the emotional juices flowing. This one leaves me as cold as the snow on Hoth.
- Ian Beale
A masterpiece of cinema. The film transcends the franchise, seamlessly combining elements of myth, science fiction, fantasy, war film, romance, bildungsroman, epic and tragedy in a way that its sequels have been unable to replicate. It is a move without a moment of fluff. Cut anything and the film would suffer. Story, character, effects, cinematography, music, screenplay, acting, editing and action are all superb. One of the most artistically poignant films ever made. And because its style cannot be replicated, it will continue to appreciate with age.
This was a time when George Lucas still had integrity, as evidenced in this 1980 Rolling Stone interview (he has since contradicted much of what he espouses in both word and deed): https://www.rollingstone.com/movies/news/the-empire-strikes-back-and-so-does-george-lucas-19800612
Here's a blog article shows Empire's cinematic chiasmus, or narrative symmetry: https://dejareviewer.com/2014/05/20/cinematic-chiasmus-the-empire-strikes-back-is-a-perfectly-symmetrical-film/
My favorite version is the Team Negative1 Renegade Grindhouse Edition, an unrestored 35mm scan complete with damage and dust. The Despecialized version is okay too. All official releases are desecrations.
People may say that Star Wars is dead, but The Empire Strikes Back is deathless.
It's a dark time for the rebellion; and us the audience as well.
Luke, Leia and Han are fighting with the rebels in the hope of defeating the Imperial forces. But Luke gets a calling to the planet Dagobah, where under the tutelage of Jedi Master, Yoda, he hopes to become a Jedi himself, but that also brings him closer to his, and Leia's, destiny.
Lets tell it as it is, The Empire Strikes Back is a better film than Star Wars, not as impacting of course, but most definitely better. Technically, in story telling and in tone, it holds up well today and certainly warrants the amount of times it crops up in best sequels debates. That it's not actually a sequel is irrelevant, it is of course the filler in a wonderful sci-fi sandwich, because as second instalments go, Empire has few peers. With Empire Strikes Back we get all the whizz bang adventure strewn heart of Star Wars, but George Lucas (stepping aside for Irvin Kershner to direct) has also fleshed the story out with a serious dark tone that oddly becomes a bedfellow to the romantic fun on offer, where new and engaging characters (and creatures) add spice to this wonderful fantastical broth.
Aided by the considerable writing talent of Leigh Brackett (The Long Goodbye, Rio Bravo, The Big Sleep), Lucas took the bold and ingenious step of giving the bad guys the upper hand, in fact it could be argued that he was taking a considerable risk with his ending. Forcing his viewers to wait for the final chapter (three years later), after tantalisingly setting us up with a corker of plot twist (one which is still to this day as potent as it was back on release), Lucas pulled perhaps one of the cheekiest carrot dangles in cinema history.
Though more famed for its dark undertones, Empire is for sure still a very fun movie, C3PO goes into camp overdrive and Han Solo ups his quip quota by some margin. Then of course there is Yoda, in himself a comedic joy. The action sequences beg for repeat viewings, a battle on the ice laden planet Hoth is a marvel and the choreography for Skywalker's fight with Darth Vader is out of the top draw. But ultimately it's with the dark side that the picture excels. Complex and amazingly posing moral quandary's, The Empire Strikes Back is quite an experience, one that will forever hold up to repeat viewings for this particular viewer. 10/10
_**Fun, imaginative, iconic space adventure with a kick-axx cast**_
"Star Wars V: The Empire Strikes Back" (1980) was the anticipated follow-up to the initial mega-hit blockbuster from 1977. It’s an epic, but simplistic space fantasy about an evil empire and the noble souls who dare to fight it. The main cast features Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia), Billy Dee Williams (Lando Calrissian), Alec Guinness (Obi-Wan Kenobi) and the voice work of James Earl Jones (Darth Vader), Frank Oz (Yoda) and Clive Revill (Emperor).
This is an amusing, inventive, iconic space adventure with a stellar cast. While I prefer the adult-oriented space science-fiction of Star Trek, I can’t deny that this space fantasy grants you an entertaining two hours with lots of sci-fi action, space ships, a snowy planet, asteroid caves and mysterious swamps. I also appreciate the mind-powers angle. It doesn’t hurt that Fisher is in her prime and easy on the eyes, not to mention Ford and Williams are at their charismatic best. Even the more obscure Hamill shines in his boyish youth. Then there’s RD-D2, C-3PO and Chewbacca.
The film runs 2 hours, 7 minutes.
GRADE: B
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103 Minutes | Thriller, Crime | 2000-09-01
📥 Snatch 2000
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In the quiet words of the Virgin Mary... come again?
Snatch seems to be one of those spunky British gangster films that critics are divided on, yet it's loved by the target audience. Guy Ritchie has done a Sam Raimi, he has remade the first film that put him on the cinematic map. Where Raimi remade The Evil Dead, and just called it Evil Dead II, Ritchie cheekily tries to get away with remaking Lock, Stock and Two Smoking Barrels and calling it Snatch. Sure the circumstances in plotting are different, and there's a big American star brought in to beef things up for the global market, but it's the same movie and without doubt it's lazy film making. But it still - like Evil Dead II - Rocks!
Snatch in story terms is concerned with a big diamond that stitches together a number of threads involving the London underworld. Some rough and tough Romany types join in the fun, headed by a purposely illegible Brad Pitt, while Dennis Farina, Benicio Del Toro and Rade Serbedzija add more cosmopolitan meat to the crooks and gangster stew. The British cement holding the building up comes in the twin forms of Jason Statham and Stephen Graham, with Vinnie Jones once again turning up to frighten the masses. Everything from bare knuckle fighting to bumbled robberies - to dog fighting and shifty arcade empires - are here, with Ritchie writing characterisations that positively boom off of the screen.
As with "Lock-Stock", the beauty is in the way violence and humour are deftly blended. Scenes are often bloody but also bloody funny, a pearl of dialogue is never far away from a perilous situation. The comic tone is more close to the knuckle here, Ritchie having fun toying with ethnic and machismo stereotypes, while he brings his bag of visual tricks before it got boring. The narrative is deliciously complex, but much credit to Ritchie for the way he pulls all the threads neatly together in a whirl of scene splicing and cocky literary assuredness.
So it's "Lock-Stock 2" then! No bad thing if you happen to be a fan of that sort of wide boy malarkey. If you don't like it? Then jog on sunshine. 8/10
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100 Minutes | Documentary | 2020-09-03
📥 Paolo Conte - Via con me 2020
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86 Minutes | Fantasy, Animation, Family | 1988-04-16
📥 My Neighbor Totoro 1988
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**"Childhood" in a movie.**
This is just perfection - a perfect way to while away time and reconnect with your youth.
Everything is outstanding in this film, but especially the way it can emote your sense of wonder and imagination.
I wish I could have watched this as a child, I would have wanted to find Totoro and the Catbus, roar like Totoro, or sleep on his belly. Oh well...I will just have to imagine it.
Its interesting to note this was released with Grave of the Fireflies, another Ghibli masterpiece, which I have summed up as being about innocence lost. **This movie is innocence maintained.**
(SPOILER ALERT)
I was delighted to see this subtle/multi-layered tale unfold, which seemed to play well to both a childhood audience, keen on likable characters/compelling imagination, and adults with a deeper appreciation for the symbolic backstory.
Like most of Miyazaki's films, there was an enormous focus on the power of the natural world. Whenever man perverts the natural world, the natural world seems to pushback. It appears as though the seldom seen Mother in the story is sick due to some mental/physical disconnect that she has likely had with the natural world.
Through the unique power of children to tap into their imagination, especially children living outside the city and amongst nature, Miyazaki demonstrates the unique gift that children have to re-establish the lost bond between unhealthy adults and the healing power of the natural world. I was thoroughly impressed with how delicately Miyazaki established this bond between the two children, their imagination, and the natural world. Totoro, the lovable silent giant, is a great and unexpected metaphor for the healing power of the natural world and childhood imagination :)
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189 Minutes | Fantasy, Drama, Crime | 1999-12-10
📥 The Green Mile 1999
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121 Minutes | Drama, War, History | 1966-09-08
📥 The Battle of Algiers 1966
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