Sunday, August 24, 2014

Basic Instinct

Several murders in the San Francisco area follow the same pattern as the killings in the erotic novels of a  steamy blonde author (Sharon Stone) who lures a police detective (Michael Douglas) on the case who may be in way too deep for his own good. Basic Instinct is a sleek, often dumb, occasionally intelligent thriller whose many sex scenes are as often unappealing as they are provocative. Stone delivers a soundly confident performance, Douglas' is a mixed bag as he seems to struggle with the heated scenes, and every story angle or scene spotlighting Jeanne Tripplehorn is completely awful. Paul Verhoeven's film attempts to channel classic San Fran movies such as Vertigo and Bullitt, and does so successfully, and then offers a conclusion that is supposed to end things on an ambiguous note, that comes off as more idiotic than anything.

Saturday, August 23, 2014

Crimes and Misdemeanors

An esteemed ophthalmologist (Martin Landau) is thrust into a crisis when his needy mistress (Anjelica Huston) threatens to expose their affair to his loving wife, an act of desperation that pushes him to his moral brink. In separate developments, a struggling documentarian (Woody Allen) takes on much needed work from his insufferable, far more successful brother-in-law (Alan Alda) who gradually steals away his editor and girl of his dreams (Mia Farrow). With Crimes and Misdemeanors, Woody Allen offers not one but two great movies, one tragic and thought provoking, the other highly comedic, which despite a partially intersecting finale, do not exist solely and stupidly for the sake of one another as in many similarly plotted modern movies. Landau has the role of a lifetime and Allen and Alda are absolutely hysterical as bitter rivals.

Friday, August 22, 2014

Red River

While dreaming of owning a booming cattle ranch with his cantankerous right hand man (Walter Brennan), a seasoned and insistent cowherder (John Wayne) takes in a young boy (played as an adult by Montgomery Clift) whose wagon party has been slaughtered by Indians. As time passes and the cowboy's dream has been fulfilled, he sees to drive his massive heard on an onerous trek through South Texas to get top dollar for his stock and finds opposition from his protege when his methods are viewed as no less than dictatorial. Howard Hawks' dark and ambitious western features excellent performances from Wayne (extremely brooding) and Clift and two extraordinary montage sequences in his study of commanding respect versus demanding it. The Joanne Dru character, who is tackily introduced to resolve the central conflict, does not hamper an otherwise superiorly made classic.

Thursday, August 21, 2014


1930s L.A. private eye Jake Gittes (Jack Nicholson) is drawn into a routine and seemingly simple case of adultery involving the director of the water department and his steamy and fragile wife (Faye Dunaway). When the politico is found murdered, the investigatory trail takes on serpentine and overarching proportions, all leading to Dunaway's nefarious, ruthless businessman father (John Huston). Chinatown boasts one of the cinema's all-time great screenplays courtesy of Robert Towne which throws in everything but the kitchen sink and barely leaves you hanging from a thread. Roman Polanski's direction is masterful (his cameo as a knife wielding hood is memorable also), Nicholson and Dunaway are in top form, and legendary helmer Huston is potently menacing.

Tuesday, August 19, 2014


Boyhood chronicles the coming of age life journey of Mason (Ellar Coltrane), originating with his wayfaring childhood in east and central Texas as he copes with the anguish of a broken home, splitting time between two loving but flawed parents (Patricia Arquette and Ethan Hawke) and continuing as he burgeons into a talented though detached adult. Filmed over the course of twelve years, Richard Linklater's passion project is an always enthralling voyage whose sheer vision and scope overcomes portions of the story that should suffer from lulls and overlength, and owes a lot to the fortified performances of Arquette and Hawke and some inspired dialogue and adventitiously captured moments. 

Monday, August 11, 2014

The Grand Budapest Hotel

For a documentary on his latest book release, a writer (Tom Wilkinson) recalls his 1968 visit to the titular mountainous lodge where his younger self (played now by Jude Law) interviews the mysterious owner (F. Murray Abraham) who fondly recalls his days as a bellboy under a rascally yet noble concierge (Ralph Fiennes) and their dastardly misadventures during the German invasion. The Grand Budapest Hotel marks both a maturation and a regression of sorts for Wes Anderson, containing exemplary cinematography in which his murky and expectedly overly quirky story often gets lost--a return to the style over substance form that dominated his earlier films. Fiennes turns in a commanding and engaging lead performance while some of the many character actors make memorable turns (I particularly liked Adrian Brody and Willem Dafoe as a pair of sinister brothers) while others such as Bill Murray and Owen Wilson barely serve a purpose and seem like they just showed up for the catering.

Friday, August 8, 2014

A Most Wanted Man

A half-Chechnyan, half-Russian immigrant washes ashore on the docks of Hamburg, Germany and is immediately taken note of by the head of an anti-terror unit (Phillip Seymour Hoffman) who hopes to use this potential threat as bait to fry a bigger fish, that is if his superiors and a visiting American emissary (Robin Wright) don't get in his way. A Most Wanted Man, an adaptation of a recent John le Carre novel, is a bit of a tease for its genre, often drumming up the suspense music and offering little payoff while Anton Corbijn, a filmmaker who has offered strong work in the past (Control, The American) mostly lets the movie sit on the screen, often to the point of tedium. It features one of the final performances of Hoffman (I think the final Hunger Games pictures where we will see him partly CGI'd will be his last) and it is a commanding one though I wasn't wild about his German accent nor that of Willem Dafoe, Rachel McAdams and the other Americans in the cast.

Wednesday, June 18, 2014


Brazillian Ayrton Senna was a humble Formula One Race Driver who conquered his arena and died tragically in a horrific accident in 1994. Senna presents a portrait of a morose, thoughtful superstar athlete, much different from the kinds we're accustomed to today. It achieves the great feat of presenting a documentary consisting entirely of footage, devoid of lame talking heads expousing their worthless opinions. It does somewhat lose pole position somewhere towards the end but the documentary is a wonder in its own way and it is kind of a shame that Formula One Racing still doesn't have nonfans convinced on merits of its sport.

Saturday, April 26, 2014


A crack peddler (Mekhi Phifer) operating out of a Brooklyn Housing Project no longer has the stomach for the life but is torn due to loyalty towards the menacing drug lord/father father (Delroy Lindo) who oversees his operation. When he becomes a suspect in a murder investigation that also targets his straight laced brother (Isaiah Washington), he doesn't know whether to trust the homicide detective (Harvey Keitel) who seems to show a genuine concern for his well being. From a novel and screenplay by Richard Price, Spike Lee's Clockers is an intelligent, rollicking, thought provoking film which unravels just slightly towards the end but is still a full blooded original (which makes you question its absence from recent movie conversations). Phifer throws himself into the lead role, which makes it excusable when he occasionally struggles to hit the right notes, Keitel turns in one of his finest performances and Lindo is potent and absolutely petrifying in a great turn.

Friday, April 25, 2014

Lonesome Dove

Two retired Texas Rangers and lifelong rivals (Robert Duvall and Tommy Lee Jones) currently running a livery in the sleepy title town decide to go on one last tremendous journey, a cattle run to Montana country and through the dangerous, dying West. From Larry McMurtry's acclaimed novel, Lonesome Dove is beautifully sentimental and a masterful demonstration in long form storytelling. In addition to the rascally Duvall and cantankerous Jones, there are also standout performances from Robert Urich as another ex-Ranger with a dark cloud around his head, Chris Cooper as a small town sheriff seeking his capture, Ricky Schroder as Jones' likely progeny, and Anjelica Huston playing Duvall's ex-flame.

Wednesday, April 23, 2014

The Hunchback of Notre Dame

The contorted bell ringer of Paris' Notre Dame Cathedral becomes a pawn in his master's evil scheme to kidnap the sweet and beautiful gypsy Esmeralda. As an underground revolution concurrently ensues and Esmeralda is brought up falsely on murder charges, Quasimodo sees his opportunity to seize the day and exact revenge on his odious keeper. Carl Laemmle and Irving Thalberg's silent production of The Hunchback of Notre Dame is a riveting retelling of Victor Hugo's classic due to its expansive staging and an unforgettable Lon Chaney performance who appears more sparingly than one might presume.

Tuesday, April 22, 2014


An uncorrupted detective (Donald Sutherland) from rural Pennsylvania  travels to New York City to investigate the disappearance of a local businessman, his only contact being a high rent prostitute (Jane Fonda, an Oscar winner). When his missing person turns out to be a thread in a string of murders, he becomes his new acquaintance's protector and then lover as she becomes the bait to lure the deadly killer. Klute is a well made, typically murky, and often frustrating Alan Pakula film that fits in nicely alongside some of the other thrillers he made in that time frame (The Parallax View, All the President's Men). Fonda is assuredly powerful and sexy and Sutherland makes a nice counter as her introverted partner.

Monday, April 21, 2014

3 Films on Vincent and Theo van Gogh

 Vincente Minnelli's Lust for Life, Paul Cox's Vincent and Robert Altman's Vincent and Theo are three films that all take the same basic story--the passion and madness of the renowned and beleaguered Dutch master and his relationship to his devoted art dealing brother--present them from different angles, and ultimately serve as extraordinary complements of each other. Lust for Life features considerable access to Van Gogh's paintings, often shown in widescreen closeup, and also the forceful and controlled performance from Kirk Douglas and Anthony Quinn's memorable, Oscar winning turn as the tortured artist's mentor Paul Gauguin. Cox's film is a documentary which presents footage of Van Gogh's supposed tumultuous journey, much of which is set in the idyllic South of France, and features John Hurt, ideally cast, reading Vincent's poetically revealing letters to his brother Theo. Altman's film stays true to its title devoting just about as much time to the less heralded Van Gogh sibling, has a dark tone and tempo meshed with the director's usual offbeat approach, and contains a snarlingly manic and remarkable performance from Tim Roth as Vincent and an equally well realized one from Paul Rhys as his counterpart.

Sunday, April 20, 2014


Jesus (Victor Garber), John the Baptist (David Haskell), and a nearly complete assemblage of Apostles assume the form of flower children and reinterpret the parables of St. Matthew's Gospel while frolicking around New York City. The film adaptation of Stephen Schwartz's lively and unbounded musical, which was based on a book by John-Michael Tebelak, is about as cheesed out and phony as it gets while carrying very little resonance with only Schwartz's remarkable songs keeping the film afloat. Having recently watched a filmed version of Pippin, another Schwartz scribed musical with a similar structure, it seems like the material is best suited to the stage. Then again, I've seen Godspell put on by a few amateur troupes, and the only thing that has ever stuck is the music. Another film that came to mind while suffering through a lengthy, insufferable nonmusical interlude was Yellow Submarine, where again I found my resisting the urge to reach for the fast forward button to skip the dippy filler material and return to the fantastic songs.

Saturday, April 19, 2014


A frigid advertising executive (Rachel McAdams) manipulates her talented assistant (Noomi Rapace) both professionally and sexually before finally stealing her business proposal, an act of betrayal that sets  the pair on a bizarre and homicidal trail. Brian De Palma's Passion, which was based on the 2010 French film Love Crime and shares a kinship with Dressed to Kill, Body Double, and some of his other thrillers he made around that time, features a sleekness and an overexaggerated McAdams performance which grates for awhile, then really services the picture before a twist happy ending derails any gradually generated goodwill. Rapace is excellent, which has really been par for the course for her up to this point.

Wednesday, April 16, 2014

Grave of the Fireflies

In Kobe, Japan near the close of World War II a teenage boy dodges the constant fire bombings ravaging the city while contending with desperate neighbors and relatives and combatting the pitiless starvation that plagues him, his sister and the rest of the countryside. From Hayao Miyazaki's Studio Ghibli and director Isao Takahata, Grave of the Fireflies is dark, beautifully poetic, and all around masterful animated storytelling.

Monday, April 14, 2014

As I Lay Dying

The story of the pitiable, grossly impoverished, backwoods Bundren family and their calamitous attempts to transport their matriarch's coffin to a distant Mississippi town for burial following her agonizing death. I went into James Franco's adaptation of As I Lay Dying rolling my eyes just the same as every other person upon hearing that James Franco adapted William Faulkner. As cumbersome and flat as the film is, I surprisingly found myself half admiring the earnest attempt made to bring a challenging, cerebral, and probably untranslatable novel to the big screen, while the other half was still keenly aware that it just wasn't working.

Saturday, April 12, 2014

Dead Calm

A naval officer (Sam Neill) and his wife (Nicole Kidman) in mourning over the loss of their infant son take an extended sabbatical on their yacht as they sail around the Pacific in an attempt to salvage their marriage. One day a half crazed sailor (Billy Zane) emerges out of the clear blue horizon on a lifeboat and, upon gaining entry to their vessel, tells a story of how his ship's crew has been ravaged by a case of botulism. When the officer departs to assist the survivors, he soon realizes it all has been an elaborate ruse, with himself trapped on a sink rigged to sink and his fragile wife left all alone to the whims of a madman. Dead Calm is an exceptionally well done thriller and would be a masterpiece if not for the presence of Zane whose laughably manic performance unintentionally turns his scenes farcical and also for a ludicrous ending that would feel more at home in a Halloween sequel. Still, hats off to director Phillip Noyce for his stylish visuals and intense presentation, and Kidman and Neill for their effective and believable turns.

Thursday, April 10, 2014


A girl from Seville who lost her mother at a young age learns the art of bullfighting from her renowned father only to have him stricken from her by her diabolical stepmother. Desperate and alone, she joins up with a caravan of dwarves where she continues her tutelage and faces her destiny. Blancanieves is both an imaginative refiguring of Snow White and the Seven Dwarves and also an exceedingly well done silent picture throwback. Filmed on the heels of The Artist, it is crafted with at least as much passion, reverence, technical prowess, and general enthusiasm that in many ways it matches and even surpasses its immensely successful predecessor.

Wednesday, April 9, 2014

Jules and Jim

A sociable Frenchman (Henri Serre) and his brooding German best friend (Oskar Werner) alternately (and civilly) romance a beautiful, free spirited woman (Jeanne Moreau) in the years bookending the First World War. With its amazing, quick-cutting photography and fast paced, catch as catch can narrative, Francois Truffaut's much beloved Jules and Jim is as breezy as its characters in this affable and very, very French film.

Tuesday, April 8, 2014

Written on the Wind

A Texas oil heir (Robert Stack) galavants with his executive assistant and childhood friend (Rock Hudson) but their relationship takes a hit when the drunken playboy marries a secretary (Lauren Bacall) his pal had his eyes on, and is steered towards tragedy when his lusty kid sister (Dorothy Malone) makes a play for the same friend who was also her childhood sweetheart. On the surface, Douglas Sirk's Written on the Wind is a tawdry 1950s soaper but upon closer examination reveals cleverly disguised references to impotence, sexual promiscuity, buried homosexuality and not to mention the usual betrayal, blackmail, and murder, all presented assuredly on an incredibly lush tableau. All the stars are perfectly suited to their roles with Malone even taking home an Oscar for her wide eyed, unhinged performance.

Monday, April 7, 2014

The Kid Stays in the Picture

The title decree was proclaimed by legendary producer Darryl F. Zanuck in response to a petition signed by Tyrone Power, Ava Gardner, Mel Ferrer, and other cast members of The Sun Also Rises who had lobbied to have the woefully inexperienced Robert Evans removed from his crucial role in the picture. Evans would go on to rise fast in the industry as a producer and present some of the most important films of the 1970s (The Godfather and Chinatown for starters) before going into a catastrophic tailspin in the decade to follow. Evans put his life story into a same named memoir which is an ego stroking and wildly entertaining read that becomes extremely compressed, even more egomaniacal, and devoid of most of its value when translated into documentary form. It was interesting to see a few elements described in the book such as Evans filmed plea to the Paramount brass to save The Godfather production, but mostly I spent the film wishing a similar appeal for his own book adaptation had been rejected.

Sunday, April 6, 2014

National Velvet

A bitter ex-jockey wanders the English countryside and is taken in as a farmhand by a family whom he soon plans to rob, but has his heart softened by their kind and indomitable horse loving daughter. After winning a wild stallion in an auction, the two train it to race and enter the powerful beast in the Grand National, with the young girl disguised as a male jockey. "National Velvet" is a gorgeous, sumptuous, and moving family spectacle. From overlooked director Clarence Brown, the film offered a young Elizabeth Taylor her first starring role in which she succeeds swimmingly, with Mickey Rooney starring opposite and providing an equally commanding performance. Supporters Donald Crisp and Oscar winning Anne Revere are delightful as Taylor's parents and the film is brimming with wonderful visuals, engaging scenes, and a whirlwind closing race. "National Velvet" is a family film of great entertainment and earned sentiment, the likes of which are virtually extinct today.

Broken Blossoms

Amidst the squalor of the poorest district of London, the neglected daughter (Lillian Gish) of a barbaric drunken pugilist (Donald Crisp) receives kindness and sympathy solely from a dejected, opium addicted Chinese shopkeeper (Richard Barthelmess). D.W. Griffith's Broken Blossoms is a simple, silent melodrama, but surprisingly curt and with unforgettable performances by Gish, Barthelmess, and the terrifyingly odious Crisp. Although the film's depiction of its Asian lead character would be seen as grossly stereotypical by today's standards (not to mention that Barthelmess is an actor of European descent), the film is almost shockingly daring and eons ahead of its time.

Saturday, April 5, 2014


I recently read Peter Biskind's My Lunches with Orson which is a transcription of taped conversations held between Orson Welles and confidant and fellow filmmaker Henry Jaglom in the final years of the legendary director's life. After getting to know both Welles and Jaglom through these exchanges, I felt I owed it to the lesser known of the pair to check out one of his films. In one particular passage, Jaglom relays his plans for a project which he intends to star in about a separated couple deciding to spend a final night together before finalizing their divorce and Welles responds with merciless discouragement. For some reason, that is the picture I decided to watch. Always is a pretentious, barely watchable, and horrendously acted picture that grows messier as it progresses, one which Jaglom should have heeded Welles' advice in not making and whose instincts I should have trusted by avoiding the film entirely.