Lola

During the German reconstruction period and the miraculous economic boom of the 1950s, officials, planners, and contractors in the city of Coburg are loading their pockets through graft, chief among them a fiendish developer (Mario Adorf) who schemes to curry favor with the new, straight arrow building commisioner (Armin Mueller-Stahl) by plying him through the affections of an ambitious prostitute (Barbara Sukowa). From the same Heinrich Mann novel used to draw Sternberg's The Blue Angel, R.W. Fassbinder's Lola (the last of his BRD trilogy, the second released chronologically) depicts corruption and immorality through a beautiful, ebuillent Technicolor lens with Sukowa mesmerizing as the seductive, calculating social climber.

*** out of ****

Blow Out

A Philadelphia sound technician (John Travolta) for third-rate schlock films is out one evening recording effects and captures on tape what he believes to be a political assassination, thereafter becoming involved with a would be victim and delving deeper and deeper into the cover-up. Using Antonioni’s Blow-Up as a springboard, Brian De Palma keeps plagiarism and sleaze to a minimum in Blow Out and crafts a meticulous and enthralling thriller in what is effectively his masterpiece. Excellent early Travolta performance.

**** out of ****

For Your Eyes Only

A weapons system aboard a British Naval sub is attacked and sunken which James Bond (Roger Moore) is called in to retrieve before the perpetrators or the Russians can reach it, as he is joined by the beautiful, revenge bent daughter (Carole Bouquet) of an allied Greek scientist who was also targeted. For Your Eyes Only is a tepid, low-tech 007 entry with lazy storytelling and the dialogue at its lamest, with Topol making a welcomed supporting character, Carole Bouquet a beautiful Bond girl, and Julian Glover a flimsy villain.

** ½ out of ****

Mephisto

As he moves from Hamburg to Berlin, an actor's star rises alongside Hitler's as he becomes an unapologetic pawn and a puppet for the National Socialists and sees his theater taken over, wife emigrate, friends persecuted, and mixed race mistress deported. From a book by Klaus Mann (Thomas' son), Ivan Szabo's film is characterized by a virtuoso performance from Klaus Maria Brandauer in what is otherwise a captivating but often incohesive production.
*** out of ****
note: I couldn't find an original language version of the film and was forced to resort to an American dubbed treatment which may have sullied my view of the picture.

Diva

A postman and avid fan of a renowned soprano, who has never set foot in a recording studio, records her performance and finds himself chased not only by the black market thugs who witnessed the act but also by invidious mafioso types after he inadvertently has another tape, this one exposing a police captain for his role in a sex trade ring, planted on him. Kinetic, stylish, and intelligent, with a moped/subway chase sequence that ranks with the best of 'em, and brilliant, offbeat casting (including real life opera singer Wilhelmenia Fernandez), Jean-Jacques Beineix's Diva is a brilliant debut from a director who never again seemed to find his footing.

*** 1/2 out of ****

Gallipoli

Two young Aussie runners (Mark Lee and Mel Gibson) befriend each other at a race, enlist in Her Majesty's Army as the Great War rages, and carouse in Cairo before being sent to the deadly eponymous Turkish battle where so many of their countrymen needlessly lost their lives due to arrogance and shortsightedness. It is surprising how little of Peter Weir's Gallipoli is dedicated to battle and just how non urgent it feels for a war movie and is closer to a slice of life picture with wonderful period detail and made with the director's sure hand and his usual muted color palette. The final shot is enduring and an excellent touch.

*** 1/2 out of ****

Flying Circus and the Python Films

It is difficult to describe the appeal of Monty Python, the irreverent and game changing British comedic troupe, when their irreverent material is as often inane and borderline unwatchable as it is uproarious. Nevertheless the appeal of the group, which consists of members John Cleese, Graham Chapman, Michael Palin, Terry Jones, Eric Idle, and Terry Gilliam and began on the stage and continued on through television and film, is undeniable and their influence on comedy is immeasurable. Here is a brief rundown of their work:

Flying Circus ran on the BBC between 1969 and 1974 with a feature film titled with the group's favorite segue And Now for Something Completely Different sandwiched midway in its run which took the odd approach of refilming some of their greatest hits without of the presence of a studio audience, the result of which is strangely compelling. The series has many regrettable sketches and running gags, and I feel I should keep my opinion on Gilliam's animations to myself in fear of being shunned, but it is absolutely worth suffering the dreck to get to their best and most outrageous routines (or you could just watch them on YouTube---my favorite bit is Palin's bumbling Spanish Inquisitor).

The gang followed up the series with Monty Python and the Holy Grail, perhaps the most widely seen of their features and what I'd personally consider the best of the lot. This silly take on the Arthurian legend has many indelibly hysterical moments and only starts to come apart at the seams towards the very end.

The controversy generated by Life of Brian, which tells the tale of the child born a manger over from Christ, catapulted the Pythons to international superstardom, but the film offers easy and obvious satire, with belabored gags, and laughs that are few and far between (though those few present are hearty). Gilliam's direction does achieve great period look (though his influence beyond that is distracting) and Palin's Pontius Pilate is unforgettable. Casting Chapman in the lead serves as a great disappointment considering what is lost in the supporting roles.

Time Bandits is not officially a Python movie but it was directed by Gilliam who cowrote the script with Palin and features cameos from both Palin and Cleese. The fantastical and occasionally creepy children's story deals with a band of dwarves in possession of a time travel map who take a neglected youth on their marauding journey through history. The film again falls apart towards the end but the actors are likable and the proceedings are worthwhile for the hilarious cameos, which also include Ralph Richardson and Sean Connery. 

Next up was Live at the Hollywood Bowl, a live show converted to film and released theatrically which consists of old sketches and new that comes off quite well leaving you pondering if their material isn't best suited for the stage. 

Meaning of Life, which takes a surreal look into each of life's stages, is a sporadically funny feature which is hurt by dark and atypically heavy dosages of cynicism and vulgarity. The short film that opens the movie is a highlight and the "Every Sperm is Sacred" number is priceless.

In 2014, the Pythons returned for a live farewell show of sorts, Monty Python Live (Mostly), which featured an array of live performances, clips old and new, and a musical revue, all with the participation of the remaining and surprisingly capable troupe members, save Graham Chapman who is roundly toasted during the performance.

Pixote

Abandoned and forgotten children embark down a bleak and irrevocable life of crime, which includes everything from drugs and prostitution to murder, on the streets of Sao Paolo. With Pixote, Hector Babenco takes a neorealist, documentary impersonate approach while immersing his film in the hopeless, variant sociocircles of his young, Brazilian inner city cast, many of whom were plucked right from those very streets, in a work that has the feel of subsequent, acclaimed slum movies (Kids, City of God) which were likely inspirations.

*** 1/2 out of ****

Pippin

This filmed version of Stephen Schwartz's musical tells the story of the oldest son (William Katt) of Charlemagne (Benjamin Rayson) and his quest to find meaning in life. As his journey's guide and narrator, Ben Vereen stars in an otherworldly, absolutely spectacular, Tony winning performance. The music is a lot of fun as is director Bob Fosse's choreography before the play hits something of a wall in its second half.

*** 1/2 out of ****

Prince of the City

A New York City narcotics detective (Treat Williams) who walks the thin, ambiguous moral line on the job but steers clear of major infractions is compelled by the Justice Department to wear a wire and testify against other members of his department. Acting out of conscience, he reluctantly agrees with the stipulation that he will not be compelled to rat on his partners. When he is outed as the mole, he finds his life in jeopardy and nowhere to turn for help. Based on a true story, Sidney Lumet’s Prince of the City is an involving, harsh, complex and even refreshing tale of police corruption geared towards adults. The detail is impeccable and you can feel the grit oozing off the screen while the protagonist’s trapped, claustrophobic dilemma is just as palpable. Williams’ performance is imperfect but demanding and occasionally powerful.

*** 1/2 out of ****

Raiders of the Lost Ark

After having his latest quest foiled by a rival and making a daring escape from Peru, archaeologist Henry "Indiana" Jones (Harrison Ford) returns to his teaching post where government officials apprise him that the Nazis are seeking out one of his former colleagues. From there, Jones embarks on a perilous, continent spanning expedition after realizing the vile dogs are in search of the Ark of the Covenant, which they believe will make their armies indestructible. Revisiting Raiders of the Lost Ark, I was surprised to find it a great deal cheesier than I remembered a kid when it always struck me as grown up (in a good way). Spielberg's classic action/adventure nod to Saturday Morning serials is brazenly mounted, occasionally over the top, but impeccably carried out, and still a whole lotta fun. The film is well cast and although Ford and Karen Allen leave little to be desired in the acting department, both hold tremendous appeal.
*** 1/2 out of ****

Body Heat

In the midst of a blistering Florida heat wave, a bored small time defense attorney (William Hurt) takes up with a sexy seductress (Kathleen Turner) and is soon ensnared in an intricate scheme to murder her well-to-do husband (Richard Crenna) and collect on his life insurance policy. Lawrence Kasdan's Body Heat, his debut as a director, is a film that is so involving and so at home in its own perspirating skin that it invites that forbidden thought suggesting it matches and possibly outdoes those cold, sinuous noir classics it so clearly emulates. Hurt's outstanding, laconic performance adds to the movie's sweltering spell and helps reenforce the plot's many webs while Turner is no less impressive as the femme fatale who seems to be two steps ahead of everyone, audience included. The film is rounded out with strong supporting performers which include Crenna as the tough talking mark, Ted Danson as an animated assistant district attorney, and Mickey Rourke in his breakthrough role as one of Hurt's useful former clients.

Vernon, Florida

For a followup to his debut film Gates of Heaven, documentarian Errol Morris profiled a few offbeat members of the title town, a sleepy retirement community, who include a bored traffic cop, a pair of turkey hunters, and a turtle expert. The film is often hilarious, features fine photography, and is done in the director's unmistakable, quirky style of filming his subjects straight on and blurring the line of whether he is showing admiration or making fun.
*** 1/2 out of ****

Thief

A master safecracker (James Caan), yearning for a family life and one step removed from legitimization, agrees to one last mob-backed score, and finds himself unable to extricate himself from his new partnership. Michael Mann's feature film debut is pretty standard stuff in terms of plotting but is given great weight by both his distinct, sleek, high octane style which is evident from the get-go and a career performance from Caan. Robert Prosky makes an absolutely ruthless villain and the film contains a violent, memorable finale.

My Dinner with Andre

"IT'S JUST TWO GUYS HAVING DINNER!!!" 

That's the obvious and understandable reaction upon seeing the film, or hearing about it, and it's true. My Dinner with Andre tells the story of two old friend catching up for an extended meal at a ritzy restaurant. On a cold, New York night, a cynical, depressed playwright (Wallace Shawn) meets with his director friend (Andre Gregory), where he tells him of his recent world travels while the two engage in vivid and lengthy philosophical discussions. Shawn and Gregory, who are essentially playing themselves, also wrote the screenplay and paint an evocative picture in this imaginative film, adeptly directed by Louis Malle, where there is more than meets the eye.

Mad Max 2: The Road Warrior

Following the death of his family and his barbaric turn, Max (Mel Gibson) wanders the bleak, even more desolate Outback. With petroleum being the most valuable commodity, he plots to steal a tanker from a colony he visits but instead decides to join them in their struggle against a plundering gang of baddies. "Mad Max 2: The Road Warrior" is not as great as the original  (which is a minority opinion) not so much because its incredibly dumb plot, but more so because the viewer isn't emotionally invested in Max's plight. That being said, its silly plot is really an excuse for some outlandish stunt work and the film contains some knockout, nail biting sequences, particularly the finale which I'm still puzzled why I haven't seen it appear on any lists of great all-time chase scenes.
*** out of ****

The French Lieutenant's Woman

As a young actor and actress (Jeremy Irons and Meryl Streep) prepare on location for their latest film, a tragic tale of a tarnished woman who begins a torrid affair with an archaeologist Victorian, the two embark on their own doomed fling. Harold Pinter's adaptation of the groundbreaking novel by John Fowles is a likewise highly original work that views a 100 year old love affair through a modern prism. Although we are constantly aware that we are watching a film within a film, it never diminishes the effect of either story, least of all the tragic Victorian tale. In early role, Irons and particularly Streep are especially astounding, and bring the weight and depth to their characters as we have come to expect from them in years past. "The French Lieutenant's Woman" is a unique, difficult, and ultimately invigorating film that features fine performances from two of our best actors.

Escape from New York

The crime rate in New York City has risen by over 400% and officials have decided to turn Manhattan into an penal colony, erecting a 50 foot wall around the island and lining it with explosives and armed policemen. Now nine years in the future, Air Force One has been hijacked en route to a peace conference, forcing the President to abandon the craft in his escape pod, leaving him to be taken hostage by the ruthless inhabitants of the colony. Now the only hope of freeing the president, and thus brokering world peace, is special forces convict Snake Plissken who's solo mission is to locate and extract the president before the conclusion of the police summit some 23 hours later. John Carpenter's "Escape from New York" beings with a compelling and promising 20-minute set-up which, as soon as Kurt Russell lands on the World Trade Center, at which point the film devolves immediately into an uninspired, vapid work where virtually nothing works and all the fun and life is sucked completely out of the film. As Plissken, Russell barely seems to be awake and sleepwalks his way through this bafflingly iconic role. Donald Pleasance is terribly miscast as the president and Ernest Borgnine is completely wasted in an underused role. Lee Van Cliff is strong as the hard edged police commissioner, but his role is quickly diminished, and I also liked Harry Dean Stanton, whose performance as a sketchy underworld leader is about the only thing element that breathes life into the final 85 minutes of this film. Carpenter is a wildly hit or miss director who has made his fair share of both veritable masterpieces and bonafide turkeys. The one has no place in being mentioned with the former.

Brooklyn Bridge

When an elderly Long Island resident was asked by a local paper what her response was to the hoopla surrounding the moon landing, she said it was interesting, but nothing compare to the day they opened The Brooklyn Bridge. The construction of the bridge was a massive undertaking, the largest of its kind up to that point. Connecting Manhattan to Brooklyn and breaking ground in 1867 and taking 16 years to complete, the work the product of innovator John Roebling and carried out by his son Washington. Following the arduous construction, the bridge has become a symbol of progress and beauty, inspiring the many who have beheld it. "Brooklyn Bridge" is the first film from Ken Burns, and contains all of the trademarks and prowess used in his subsequent masterpieces, all of which have captured part of the American experience. Telling his story in two parts, Burns presents the conception and construction of the wonder in the first segment, and leaves the second open to commentators giving their reflections on it (these include Arthur Miller, Lewis Mumford, and David McCullough who also narrates). With his first film and already in complete command of his medium, Ken Burns tells the story of a simple yet wondrous feat of American engineering.

Ragtime

In a 1906 film house, pianist Coalhouse Walker Jr. plays an accompaniment to a newsreel which shows President Teddy Roosevelt making a country train tour, Harry Houdini making a daring escape, and a young heir protesting his wife's image being used for a nude sculpture commissioned by architect. Later at a gathering, the heir shoots the architect in the back of the head, and from this point we see several intertwining stories leading up to Walker's own crusade for justice in the form of a standoff at a New York Museum. "Ragtime" is a beautiful and glorious intersection of American stories set in the early years of the twentieth century. Adapted from the novel by E.L. Doctorow, the film was criticized by some for the way it failed to juggle all of plot balls and its choice to narrow the focus. On the contrary, one of the things I quite admired was how the story introduced many different threads and then narrowed it down to a black man's search for justice. Milos Forman, one of the great directors, treatment of the material is great looking and feels right at home in the era in which it is set. The cast is phenomenal as well and the standouts include Howard E. Rollins Jr as Walker, Elizabeth McGovern as the heir's wife, Brad Dourif as another man driven by her to ire, James Olson as his reserved brother, and the legendary James Cagney, in his final role, as the gruff police commissioner Rhinelander Waldo. "Ragtime" is a wonderful cinematic assortment that particularly captures a transitional period of our history.