The Killing of a Chinese Bookie (1976)

The Killing of a Chinese Bookie

The Killing of a Chinese Bookie – 1976

Director – John Cassavetes

Starring – Ben Gazzara, Seymour Cassel, and Timothy Carey

Film noir, was a movement in film, typified by stark, harsh imagery, criminal or crime elements, and an overwhelming sense of foreboding and unease.  This particular style of film saw its birth from out of the optimism and idealism of American life in the post World War 2 era.  The growing unrest Americans were feeling in the early 50s took root in the realization that this feeling of elation wouldn’t last forever, and that the unified nationalism that got people through the war was finite.  This ended up creeping into the social consciousness and eventually made its way out to popular culture, saturating the works with an often disaffected outlook on life that celebrated the strength and ingenuity of the bandit or gangster just as much as it did the policeman or community leader.

As the artists and tradespeople began to realize what it was and gave a name to it, the label of film noir, and all the gravity that came with it, came to be.  Film noir became a tool, much like German expressionism, a visual and atmospheric means of conveying mood and the general psyche of a set of characters.  All through the 60’s, the power of the medium allowed for a more rapid reach to a more and more diverse audience.  Anti-heroes became just heroes, and as such, became more appealing to a wider and wider set of audiences.  These racy and taboo subjects became sought after by the masses, and eventually, gave way to studio sanctioned artistic freedom and championed the subversive nature of a lot of the best films of the 70s.

Films known for challenging the system and pioneering the path between commercial success and artistic integrity are the hallmark of the 1970s, and as such a filmic meeting of the methods and underlying themes that define film noir, with the freedom and influences indicative of the 70s, should be astoundingly and amazingly good.  Add in an artistic, talented actor with a career worth of standout film performances as the director, and this should have been gangbusters. Well, it isn’t, and it wasn’t.

For a film with a very simple, straight forward plot, (man over-extends himself, man runs afoul of shady characters, man struggles to make it right while trying to stay alive) it seems only necessary that crafting and growing the characters would be the obvious emphasis of the film.  Ideally the result would be a lean, mean story, free of excess frills and self-serving script.  As it turns out, however, The Killing of a Chinese Bookie is a bloated, meandering mess from start to finish, and If you thought that my intro for this review was not only unnecessarily long but also more than a little over proud of itself, then you will be well prepared for what this film has to offer.

Even by 1976, John Cassavetes was an old hand at film work. A talented character actor, Cassavetes played pivotal roles in some of my very favorite films, from Rosemary’s Baby, to The Dirty Dozen, to the fantastically underrated remake of The Killers.  As a director, he is an aimless mess.  He fetishizes and takes pleasure in watching his characters struggle, and ultimately fail to connect with one another as they drift through the narrow, tiny little lives that they lead.  It seems to me that these are people who are so uncomfortable in their own skin that their only chance of survival is to band together and treat life as a war of attrition.  Success for them, in any small measure is nearly impossible, and as such their misery and lack of ambition defines them.  They are effectively one-dimensional personifications of a stick in the mud, or a wet blanket.

None of the charisma or energy that actors like Ben Gazzara and Seymour Cassel bring to their other work, shows through here.  Perhaps most tragically, Cassavetes himself seemed to be so captivated by the lives of characters along these lines that he steeped himself in this same kind of oppressive, joylessness that became the calling card of his directing career.  Where as Gazzara and Cassel could move on to other projects, and try on other characters, Cassavetes mired himself in films like Shadows, Faces, and Woman Under the Influence, (the latter two also made it on this list, only God knows why).  The terrible part is that I’ve only seen clips of his other directorial efforts, and I was immediately turned off.  I had to force myself to sit through this one, all the while hating the terrible club performances, the clunky “natural” dialog (which by the way, just seemed un-rehearsed, not natural), and the unnecessarily long and annoying closeups.

To call The Killing of a Chinese Bookie a film noir is to insult the genre.  The power of films like Kiss Me Deadly, Double Indemnity, Murder My Sweet, as well as modern neo-noir films like Blade Runner, and Brick, is the strengths of the characters, not their weaknesses.  The audience wants to root for capable people facing overwhelming odds, not someone who makes awful choices.  Phillip Marlowe is smart, charismatic and ready for anything, where as Gazzara’s Cosmo Vittelli is short-sighted, reactionary and not very bright.  In short he is a victim of his own actions, and truthfully he gets what he deserves.

Though the settings, and plots of these films are similar, the differences represent a tremendous gulf between what film noir organically was during it’s heyday, and what The Killing of a Chinese Bookie ended up being two decades later.  While reading up on the making of this film, I happened upon an essay that explained, at least in part, one of the ways this film went wrong.  In it, Cassavetes explained that Ben Gazzara was so in tune with the character that he’d had in his head, that he barely gave him any direction at all, and often would just let him roll through scenes without interruption.  After reading that, it seemed pretty obvious that this was true, and served as proof that this film had no one to steer it in any direction at all, which is why it feels like it is in park throughout the entire thing.

Since a lot of people love Cassavetes’ directing work far more than I, some even equate him with Hitchcock, Scorsese or Kurosawa in terms of importance, so it seems fair to include one of his films on this list, but three?  I would have much rather seen the far more rich and noir-ish films of Jean Pierre Melville on this list, such as Le Cercle Rouge, Un Flic, Le Deuxieme Souffle, and Army of Shadows.  I guess I’m glad that I’ve seen it, but only because that means I’ve gotten it out of the way, and don’t have to see it ever again.

I’ve Seen It, and Now So Has She…

So in the ongoing process of reviewing the movies I had already seen when starting this, here are 25 more films from different years, genres, and nationalities.  Thanks to her going nuts on our movie collection in an attempt to catch up, all of these films were simultaneously reviewed by my lovely wife, Ashley, as well as by me.  Enjoy!

The Man Who Knew Too Much (1956)

Though not as phenomenal as some of his work, The Man Who Knew Too Much, is one of the really good Hitchcock films.  Jimmy Stewart is always pretty likable, but it’s Doris Day who really steals the show for me.  The one thing that the original has over this remake is the ever-wonderful Peter Lorre.  I could watch that guy eat breakfast!

“Don’t F with Doris Day or she will sing you a song!” – Ashley

The Great Escape (1963)

Partly remembered for it’s fun story, and partly because of Steve McQueen, The Great Escape is also worthy of remembrance for being one of the last (as far as I could find anyway) really great, ensemble films.  The list of famous actors that make an appearance here is a pretty astounding one.  Everyone from the CEO of Jurassic Park, to Flint of “In Like Flint”, to the vigilante from “Death Wish”, and plenty more, make an appearance in this film.  Oh, and the story is pretty good too.

“This movie might be set in a prisoner of war camp, but I would liken it to the con or heist movie genres, so it was actually quite enjoyable.” – Ashley

La Battaglia Di Algeri (AKA: The Battle of Algiers) (1965)

The gritty and raw style of this film owes much to the cinema vérité camera work, and black and white film stock, which served to mimic news reel, or documentary style footage.  The cast of actors, or non-actors as they were, was chosen for their look, and the emotional heft they brought the subject matter, with the only “real” actor playing the leader of the French military force tasked with quieting the then French colony, Colonel Mathieu.  As a testament to its message, the film was banned in France for a number of years, before being re-edited and released later on.  As powerful and prescient today as it was when it was filmed, it speaks to our current situation with the Iraq and Afghanistan wars, and the nature, and victims of terrorism.

“It’s a war movie!” (said with fake excitement) – Ashley

C’era Una Volta Il West  AKA Once Upon a Time in the West (1968)

Gorgeous!  This film is so lush, and beautiful that when I first saw it, it took my breath away.  Though I do love the Man With No Name trilogy, this film, in my humble opinion, is  absolutely Sergio Leone’s masterpiece!  Henry Fonda, Jason Robards, and god help us all Claudia Cardinale.  If you haven’t seen this film, you are doing yourself a grand disservice!

“One of the best movies this list has introduced me to!” – Ashley

Midnight Cowboy (1969)

I saw this film around two decades ago, and I liked it a lot.  I was amazed at how much I liked it really, but it wasn’t until I watched it recently with my wife for her first time, that I was blown away.  Dustin Hoffman is so, so very good, and unfortunately for him, John Voight was so incredible that he still hasn’t yet managed to attain such heights again.  Fred Neil’s “Everybody Talkin'” performed by Harry Nilsson, is such a perfect song to capture the wonder, and spontaneity of New York city, as well as the despair and fear that come when good fortune you’re riding flips upside down and smothers you instead.  One of the most beautiful films I’ve ever seen.

“Two hustlers find love.” – Ashley

Serpico (1973)

Though I’ve seen Serpico, I never fell in love with Serpico.  It’s a good film, that I, more than likely, should give another chance.  Known as one of the big tent poles of 1970s cinema, this film went a long way in defining the social, and political unrest of the urbanites of the time.

“Al Pacino grows a beard and takes down some corrupt cops.” – Ashley

Jaws (1975)

The godfather of the summer blockbuster is also an incredibly effective horror and suspense film.  This film comes from the young and hungry Steven Spielberg that helped make a lot of the movies that I grew up on, not the tired schmaltzy Spielberg that ruins every movie he makes now in the last 30 minutes (Don’t believe me?  Take, A.I., War of the Worlds, Minority Report, Saving Private Ryan, and Jurassic Park 2: The Lost World, and the all terrible Catch Me If You Can, The Terminal, The Adventures of Tin-Tin, and Indiana Jones and The Kingdom of the Crystal Skull.).  So basically, Jaws was good.

“The push-zoom in it is great, other then that, meh.” – Ashley

Network (1976)

Though Network has some pretty interesting things to say about the nature of television and the nature of fame and martyrdom, and is definitely considered to be another one of those “important” movies from the seventies, I didn’t like the film really at all.  I found all the characters to be pretty repellent  people, and not in the least compelling on any other level.

“I hated every character in this movie.” – Ashley

Airplane! (1980)

The absolute funniest movie that I had ever seen when I was ten years old, it turns out is best marketed towards the young and those who are young in the head.  It didn’t manage to hold onto its title when I recently re-watched it, but it was still really fun to watch.  Leslie Nielson easily steals the show with his trademark deadpan delivery, and square-jawed good looks.  I will always love it for the joy it brought me in my youth.

“Better then the parody movies done today but still not my favorite kind of comedy.” – Ashley

The King of Comedy (1983)

Robert De Niro’s selfish, celebrity-obsessed, Travis Bickle is in love with the idea of fame, so much so that fixates on it.  It is all he sees and all he desires.  At times, tense, at others comic, the film goes a fair way towards predicting the phenomenon of instant fame that shows like American Idol, and YouTube have come to inspire. “The King of Comedy”, just may be one of Scorsese’s lighter works, but one of Martin’s lesser works is often times better than someone else’s best.

“Robert De Niro being creepy.” – Ashley

The Terminator (1984)

I was raised on this film.  I have probably seen it upwards of 100 times.  It is incredible.

“Arnold Schwarzenegger is bad.” – Ashley

Beverly Hills Cop (1984)

This little flick is a fossil of another time, a time when the name Eddie Murphy meant you were going to see something that was actually funny.  Not solely for children, no fat suits or unnecessary makeup, but an actual, honest to God funny movie.  Murphy made a fair amount of them in his heyday, my only guess is that he just ran out of funny stuff to say, and now is only capable of making crap.  Too bad.

“Oh, I didn’t know Eddie Murphy use to be funny!” – Ashley

‘A’ Gai Waak Juk Jaap (AKA: Project A, Part II) (1987)

I went through a big Hong Kong cinema phase in the mid to late 90s.  Films like A Better Tomorrow, My Lucky Stars, Full Contact, and Hardboiled filled my movie collection.  Some of my favorites were the films of Jackie Chan, including the Project A films.  Packed with action, impossible stunts, and lots of slapstick humor, these films are intensely rewarding, and loads of fun.  Though I like Project A, Part II a lot, I wouldn’t put it as my favorite of Chan’s films, that honor would go to the absolutely insane Drunken Master II.  The last half an hour of that film was just about the craziest thing I’d ever seen in my life.

“Jackie is a god.” – Ashley

A Fish Called Wanda (1988)

Another film that I suppose I should devote another viewing to.  Most people seem to love, A Fish Called Wanda, however I thought it wasn’t all that good.  Since it was written by John Cleese, I should by all rights love it, so I can only assume that I saw it at too young an age.

“A raunchy comedy from the 80’s that is actually still funny for a first time view.”      – Ashley

The Naked Gun (1988)

Another of my favorite films from when I was 10 years old.  Leslie Nielsen rode the slapstick gravy train for many years, culminating in The Naked Gun.  Though the films sequels turn out to be rather hokey and one-note, the original film still stands out as one of the best examples of this type of comedy.

“Not bad but just not my kind of comedy.” – Ashley

Die Hard (1988)

As an only child, I spent a lot of time watching movies.  Every Friday night I would have my Mom drive me to the local video emporium, where I would pick up the newest action movies, along with the grossest or most obscure comedies and horror films.  I remember renting Die Hard when if first came out of Video.  I put the VHS tape into the VCR, sat back and spent the next two hours and twelve minutes getting my mind blown!  Easily one of the best action movies ever, and the best Christmas movie by a long shot.  Absolutely deserves to be on this list.

“My husband looks like Bruce Willis, so I’m allowed say how much I like how little his shirt is on in this movie, right?” – Ashley

Total Recall (1990)

Far and away the best film that either Arnold Schwarzenegger or Paul Verhoeven ever had anything to do with, and both men made some goddamned awesome films!  Groundbreaking visual effects, a truly compelling science fiction story, and action for days.  I was lucky enough to see this film in the theater, where at the tender age of eleven, I fell in love.

“Amazing special effects makeup. I wish they still did makeup this way.” – Ashley

Terminator 2: Judgment Day  (1991)

Not as impacting to me as the original, but this was yet another fantastic film.  James Cameron at the peak of his career thus far (yes I am including the disappointing Avatar).

“Arnold Schwarzenegger is good.” – Ashley

JFK (1991)

As a devout fan of film, I have a constantly shifting set of films that revolve in and out as my favorites of all time.  Reed’s The Third Man,  Kurosawa’s High & Low, Melville’s Le Cercle Rouge, and of course Oliver Stone’s JFK.  This labyrinth of a film traces the known facts right along side the potential possibilities, watching the two dance with one another, seeing what happens.  Some of my favorite cinematography ever committed to celluloid juxtaposes the black and white of the accepted reality of the Warren Commission with as many points of view as there were watching that day on the grassy knoll.  Black and white, high and low, right and wrong, fact and fiction.  All blend together in this film, tied by the exceptional cast, character actors and famous faces alike.  The best you’ve ever seen Joe Pesci, Tommy Lee Jones, Kevin Bacon, and Michael Rooker in any film.  This is one of those films that no matter what time it is, if I find it starting on TV, I will watch it all the way through.  I think I’ll go watch it right now.

“Was there anyone who didn’t want to kill Kennedy?” – Ashley

C’Est Arrive Pres De Chez Vous (AKA: Man Bites Dog) (1992)

This mockumentary about a vicious serial killer being followed by a documentary film crew attempts to find the line between documentation and complicity.  A dark film with some very subtle comic undertones, Man Bites Dog is more uncomfortable than it is successful.  It felt about 45 minutes too long, which would have shortened the film by about half.  Interesting, but ultimately not really very good.

“Oh this was suppose to be a comedy?” – Ashley

The Crying Game (1992)

It’s been a while since I’ve seen this film, so my only real memory of it is that I managed to see it twice in one weekend, once with each of my parents who didn’t know what it was about…awkward.

“Despite knowing the spoiler twist for a couple decades now I found this a really interesting look at the fluidity of human sexuality.” – Ashley

Dead Man (1995)

Long, slow, and still.  Three things that describe the films of Jim Jarmusch.  Dead Man is all of those things, and it was great.  Not a film for every occasion, nor is it for everyone, but if you appreciate thoughtful introspective and occasionally spiritual films, this one may pique your interest.

“So fucking boring!” – Ashley

Fargo (1996)

Of all the Coen Brothers films to put on this list, both this film, and Raising Arizona are two of their most average.  They are certainly good films, not nearly as reprehensible as Burn After Reading, Intolerable Cruelty, or The Ladykillers, but also not even close to as good as Miller’s Crossing (my personal favorite Coen Brothers film), The Big Lebowski, or Barton Fink.  That being said, Fargo did open up the Coen Brothers’ sensibilities to a whole new crowd of viewers and introduced the masses to William H. Macy, and Peter Stormare, so in that respect, it was a good choice.  Otherwise, a real missed opportunity for this list of “best movies”.

“I love that the lead is a smart strong women. Really great movie too.” – Ashley

The Passion of the Christ (2004)

Awful, over-hyped, manipulative, horror-porn along the likes of Hostel, and Hostel 2.

“Yeah, yeah we get it Jesus got his ass beat.” – Ashley

The Aviator (2004)

Even genius doesn’t shine all the time.  Yet another movie where the mega-talented Scorsese teams with the mega-mediocre DiCaprio, and turns in underwhelming results.  One of the greatest living cinematographers in the world said it best, describing The Aviator as a “handjob” for Hollywood, and while I don’t think it’s quite that, he certainly spends the entirety of this film writing an elaborate love letter.  Cate Blanchett was really wonderful as Kate Hepburn, if only DiCaprio could do some acting that isn’t just his usual approach of squinting and leaning forward into the camera.

“Leonardo is actually tolerable in this movie. Though he still can’t do an accent worth a shit.” – Ashley

So, there you have it.  Another 25 in the bag.  See you next time!

Super Fly (1972)

Super Fly – 1972

Director – Gordon Parks Jr.

Starring – Ron O’Neal, Carl Lee, Sheila Frazier and Julius Harris

Films the world over are often products of their environments.  The daily input of the culture from which they are borne infuse them with settings, history, and ideals that in equal measure define, inform, and limit them.  The Blaxsploitation movement of the 1970’s is a prime example of this juxtaposition.  These films often held a mirror up to the audience, mixing entertainment, and catharsis with a frank look at the ills and issues of the African-American communities of the day.  Super Fly in particular was a smashing success at the box office, proving that audiences were interested in seeing a confident, self-assured, and strong black presence win in the end, even at the cost of having that presence draped in the somewhat shady trappings of a drug dealer, pimp and murderer.

Priest (Ron O’Neal) is smooth, he’s well dressed, he’s good with the ladies, and he is also a dealer of cocaine, and a bit of a gangster.  Constantly confronted with the notion that today might be the day he ends up dead or in jail, Priest finally gives voice to a long brewing need to escape the drug dealing life that he’s built for himself, and move on to something else.  Something more positive, and something without the scrutiny and control of “The Man”.  To achieve this, he makes the inevitable decision to make one final score (in this case it is a big, one-time buy that will be quickly sold off through many, quick, smaller scores).

Much is made about Priest’s desire to leave the life of dealing drugs, but when it comes down to it, the cocaine affords him a certain comfort and power that is too difficult to escape fully.  Even if he decides to give up the dealing aspect, Priest can never really free himself of his relationship with cocaine entirely, because he snorts it far too regularly.  It’s dependence at a different, but no less fundamental level for the character.

The system is set up so that it draws him back in.  To escape the dealing, he needs more money.  To make more money, he needs to sell more drugs.  To sell more drugs, he needs to enter into deeper relationships with the corrupt, and greedy cops who want him to deal more drugs, increasing their-own profit and status.  He is operating from within a system that wants him to fail.  Even his partners and so-called friends question his desire to get out of the life.  They tell him that this is the best he can hope for, and that he is a fool to throw all that money and potential away.  The quest for freedom, and desire to grow are matched equally by the quest for wealth, and the desire for respect and acceptance.  Each side is working at cross purposes to the other, while at the same time fueling the progress of the other as well.

That same conflict echoes itself back and forth throughout the entirety of the film.  The cocaine that Priest sells, which gains him the power, money and purpose that he enjoys, wouldn’t be nearly as much of a success if it wasn’t illegal   The “man” or “men” that he rages against are the very same people who keep the drug demand high, and essentially keep him employed.  Just by virtue of being the hero who’s gonna stick it to the man, he disrupts the system, and is hurting his ability to continue selling drugs, simultaneously freeing himself from the bonds that trap him, and ostensibly putting himself in a situation where they have the ability to exert more power over him.  It is a never-ending cycle, and it’s more than Priest can take.

The one bright light in his life, is Georgia (Frazier), the woman who stands by him and actually believes in him.  Aside from being someone he goes to for comfort and the occasional night of passion, with Georgia, Priest can finally let his guard down and be something other than the tough, un-caring gangster he is to everyone else.   Unfortunately, instead of realizing this and treasuring his relationship with her, he instead continues sleeping around with other women and disregarding her at almost every turn.  He turns to her to assume a good deal of risk when he makes his move to escape the clutches of his oppressors, but offers her little in return.  It does seem more than a little ironic to me that the simple considerations of freedom from oppression and need for respect that Priest is fighting for in his own life are dismissed by him when it comes to Georgia.

For a movie that seems so concerned with empowering it’s primarily young, primarily black audience, it works very hard to simultaneously hold them back in relation to how they view themselves.  For every assertive step forward, Super Fly, takes just as an assertive step backwards as well.  While it seems a little disappointing, I guess, I sort of understand it at the same time.  I mean I root for Breaking Bad’s Walter White to escape his police pursuers and keep cooking meth, and really is that so different as Priest?  Not by much.

In terms of the cinematography, Super Fly is such a 70’s movie!  Long tracking shots, zooming in and out of the action.  Washed out film stock that bleeds with life despite it’s rather dated look.  While not technically great composition, lighting, or editing, I loved watching it nonetheless.  Costuming, hairstyles, the music (fun fact: Super Fly is one of the few movies with sales out performed by its soundtrack, thanks in no small part to Curtis Mayfield’s instantly recognizable songs), and the sparse acting, all add up to a period piece that had no idea that it was one.  The look and feel of this film, speak to a time that was and never will be quite like this again.  This film had quite an impact in terms of style and substance of not only films, but of pop culture as well.  This if the film that started the popularity of the “Pimpmobile” after all.

Though it has flaws, some of which were glaring, Super Fly remains an important piece of film history, and as such is deserving of its place on the list.  While it certainly isn’t my favorite film on this list, it was pretty fun to watch, and afterwards to think about.  I look forward to seeing Shaft, another blaxsploitation film on this list, and a sort of companion piece to this film.  The only question is, which soundtrack is more iconic, Curtis Mayfield’s Super Fly or Isaac Hayes’ Shaft?  More on that once I’ve seen both.

Who will survive…and what will be left of them?

So it’s my favorite time of the year…Halloween. So why not indulge myself a little and review some of the best horror, thriller, and suspense films in the book. Some of them I’m super thrilled about writing reviews of, and some are certainly popular but not necessarily my favorites. Read on to find out which is which. Enjoy!

Night of the Living Dead (1968)

A classic, certainly without which we wouldn’t have such staples as The Walking Dead, Dawn of the Dead and it’s remake, or the fantastic Shaun of the Dead, as well as a whole host of other films that have borrowed from it. The paranoia, mounting tension, and overwhelming odds of this first Zombie movie, transferred smoothly into non horror themes, such as isolation, race-relations, and fear of the Nuclear age in which we live.

L’uccello Dalle Piume Di Cristallo AKA The Bird With the Crystal Plumage (1970)

In this early film, Dario Argento, arguably the biggest name in italian horror, creates a film that is more Hitchcock than it is a slasher movie. The tension and carnage that ensues is more about pacing and misdirection than it is vicious thrills, and gore. That being said, it does have its share of gore. Oh, those italians, never short of gore. While good, I actually liked his later, more iconic film, Suspiria better than this one.

Deliverance (1972)

A horror movie of a different variety, rather than use a monster or a psychopathic antagonist, this film explores the terrible behavior exhibited by humans onto one another. The group of hunters looking to spend some time together having fun, get to know way more about each other than they ever wanted to know. Normally I wouldn’t give away any spoilers, but I think most people know exactly what the “twist” to this movie is. Men raping men has never been so much fun.

The Texas Chainsaw Massacre (1974)

Quiet, slow, and nearly bloodless apparently equals really effective and terrifying. Who knew! Despite the fact that I credit The Exorcist with being better all around (scares, craftsmanship, and acting), The Texas Chainsaw Massacre is pretty fantastic in its own right. By all means you should see the original version and relish in the grainy washed out film stock, the real locations that haven’t been over dressed or grimed up to such a degree as to make looking at them unsanitary, and the overall impact of a movie that can utilize calm as well as it does chaos. One hell of a good movie!

The Hills Have Eyes (1977)

This film predates the slasher sub-genre of horror movies by close to 5 years, however it definitely shares and in some cases has inspired certain sadistic qualities in them. The movie gives us a family full of socially dysfunctional, nomadic killers as the source of our fear, an anxiety, and a nice everyday innocent family to compare ourselves to. More camp than scare. More sadism than not.

Suspiria (1977)

This film is far more surreal, and otherworldly than The Bird with the Crystal Plumage, the other Dario Argento film that I’ve seen. It is by far, more psychological and subtle in how it works under your skin, but also has a far less believable (read: ridiculous) set of traps and horrors for our heroine to escape. A room in a dance academy that is inexplicably filled with coils upon coils of barbed wire, is decidedly unbelievable, and therefore draws us out of the “story”. That being said, I still liked it better than The Bird with the Crystal Plumage, for its use of rich full color, and it’s dedication to that certain uneasy feeling.

Dawn of the Dead (1978)

Holy Shit! If you have managed to make it through your life to this point without seeing this movie, do yourself a favor, go buy (not rent) it and watch the shit out of it! For a movie that is so closely associated with the horror genre, Dawn of the Dead manages to be so relevent and forward facing on such a large variety of subjects. From race relations, religion, and consumer culture, to the nature of willful violence, and interaction between the sexes, not to mention some pretty outstanding makeup effects. This film has so much to offer first time and repeat viewers alike. Granted some of the makeup looks a bit bad by today’s standard, and some of the euphemisms seem a bit dated and clunky, but by and large this film has all the energy and fire of the films of the seventies, plus a pretty compelling horror story to boot. Make sure to buy the version that comes with the theatrical and directors cuts, so you can compare and contrast the values of each. (Hint: The Director’s Cut is better.)

Halloween (1978)

In terms of craftsmanship and construction Halloween is a master-class in editing and pacing. Featuring very little in the way of jump-scare type tactics, this film instead, skillfully builds the tension slowly through the use of shot composition, and editing, along with skillful acting and directing. Of course, John Carpenter is no stranger to the praise due to him from the horror fan community, including myself. I’ve enjoyed almost every single one of his films, and I only say “almost” because I can’t remember if there has been anything that I haven’t liked. Watch this!

Alien (1979)

In terms of futuristic visuals and slow building tension, Ridley Scott seemed to have cornered the market in the late 70’s and early 80’s. With films like Blade Runner and Aliens he helped to bring a living, breathing, realism to the science fiction genre that had before been absent. Where Star Wars was shiny and optimistic, Alien was concerned with the accurate depiction of its characters in a true to life setting. With Alien, he also managed to bring horror to a new level. For proof, just go watch the still terrifying trailer for the original Alien.

“The baby alien is soooooo cute! And there’s a cat!  And a butt crack!” – Ashley

The Shining (1980)

With the Shining, Stanley Kubrick made one of the finest films ever committed to celluloid (or digital mediums, I’m not playing favorites). The power and the impact of the imagery sticks with you long after the film is finished (they’ve been with me since I saw it way back when I was young.), and while the dialogue and delivery seems stilted at first, it all serves a grander purpose of creating a slightly skewed feeling in the viewer. The disharmony and discord starts to build at an imperceptible level, but once it rears its head, it is obvious that it has been around for a long while. Absolutely one of my favorite movies, and well deserving of being on this list!

“You know it’s a good horror movie if Shelley Duvall is in the film and still not the scariest part.” – Ashley

An American Werewolf in London (1981)

A classic in my circle of friends, this is actually a movie that I came to finally see rather late (only 4 years ago or so), and I’m really glad I did.  Part slapstick comedy, part horror movie, American Werewolf in London manages to balance the two genres giving a room for the comedy to live, without ruining the scary elements.  Then there is the astounding fully lit, werewolf transformation scene, something that was nearly impossible in the days before CGI.  Definitely worthy of its spot on this list.

“Suck it CGI!” – Ashley

Check out guest reviewer Mike Petrik’s review, here!

The Thing (1982)

Kurt Russell and John Carpenter have, together, made a pair of my most favorite films ever, Big Trouble in Little China, and this movie, The Thing. Along with being a completely absorbing well paced thriller in its own right, it also happens to have some really outstanding special makeup effects, and puppetry. Add in to the mix a young Wilford Brimley, Keith David in all his glory, and who could forget the heartbeat of a score that relentlessly pushes us onward, towards the end of the film. Outstanding all around!

(***Warning Spoilers***)

“One point for the great special effects makeup…one point for the sexy Kurt Russell beard…negative one million points for the hurting beautiful puppies” – Ashley

Poltergeist (1982)

As far as this list goes, the Poltergeist has perhaps left the smallest impact on me. All I really remember is the tiny woman with the child’s voice. She actually played good character in the film, yet still she stands out as a defining characteristic of this horror film far more than the big gauzy skeleton, the skeletons in the basement, or heaven forbid the terrifying child-sized doll that those shitty parents put in their kids room.

“Thanks to “Buffy the Vampire Slayer”, I know that Poltergeists are not ghosts.” – Ashley

The Evil Dead (1982)

Despite the fact that this film revolutionized the way that horror films were shot, produced, watched, edited, and scored, The Evil Dead was, in my opinion not nearly as good as its slapstick sequels, The Evil Dead Part 2, and Army of Darkness. Definitely worth watching, but make sure you watch the other two, so you can see director Sam Raimi reboot his own film, and make it worlds better.  Give me some sugar, baby!

A Nightmare on Elm Street (1984)

This was the movie…the movie that scared the bejesus out of me as a kid far more than any other movie has ever done, before or since. Looking back at it now, it doesn’t make sense why this film had such a profound effect on me, but none the less, it did. The most terrifying image in the film (in my younger-selfs opinion), comes in the first 10 minutes, and the real terror of the first watch was the anticipation of whether it would be topped in the remaining 80 or so minutes. Not to mention, the film had a rather ingenious premise of allowing the victims to be vulnerable in their dreams, a place that no one can escape. Worth the watch, but I’ve heard you should avoid the remake.

Manhunter (1986)

The best of the Hannibal Lecter movie adaptations, this one combines the visual sensibility of Michael Mann, the menace and animalism of Tom Noonan, and the depth and intelligence of Brian Cox as Lecter into a luscious, dangerous, thrilling movie. Despite it’s inclusion on this list, I feel that the more popular Hannibal Lecter story, The Silence of the Lambs, is far inferior to this film, though there are many who would disagree vehemently. One thing that everyone can agree on, however, is that the remake of Manhunter, Red Dragon, is completely a piece of shit by comparison.  Brett Ratner my ass!

The Fly (1986)

Your standard story about a man who invents teleportation devices only to have it backfire on him when a simple little house fly gets caught in the machine with him. This film creeped me out quite a bit when I was a kid, particularly the arm wrestling scene. The Fly is a great horror movie, worthy of inclusion on this list!

Aliens (1986)

Quite possibly my favorite of the movies on this Halloween list. I grew up with this movie, so as a result, I am in capable of judging it in any way other than favorably. A great continuation of the story that began in Alien, one that manages to go far beyond it in terms of action, character development, and stakes. Where the original was effective through the isolation of its characters, Aliens succeeds by forcing them to band together to combat the threats from without as well as within.  This is when James Cameron was at his peak in my opinion (well, that or during the Terminator movies), not during the bloated gimmicky Avatar days.  Robot versus space-bug!  That really says it all.

Spoorloos AKA The Vanishing (1988)

If you’ve seen the remake of this film starring Jeff Bridges and Keifer Sutherland, then do yourself a favor, drink a bunch of turpentine till you forget that one, and when you’re back from getting your stomach pumped at the hospital, watch this creepy-as-hell movie. Using simple tactics to inspire fear, Spoorloos is surprisingly contemplative, and deceptively calm for a list such as this. Don’t let that fool you though, it’s terrifying all the same.

Jacob’s Ladder (1990)

Creepy. Creepy. Creepy. CREEPY. This mind-bending film tests the limits of the audiences perception, making us debate up until the very end whether or not we think our main character is, in fact, crazy, delusional, or correct that there are strange beings out to get him. The fantastic Danny Aiello electrifies every scene he is in, and make sure to watch out for a small appearance by Ving Rhames, too!.

The Silence of the Lambs (1991)

Way, way over-rated. While this movie isn’t bad, the fact that it took home best picture, best actor, best actress, and best director honors at the Oscars is a little absurd if you ask me. Hopkins was good as Lector, but not nearly as menacing as Brian Cox was in the role just a scant 5 years earlier. Foster was good as well, but has been much better in better things as well. Jonathan Demme, is the exception. Though I don’t think he necessarily deserved the Oscar for his work here, this actually is the best thing he has ever done. In fact, he did such a bad job on The Truth About Charlie, a terrible remake of one of my favorite movies of all time, Charade, that he ought to have any awards and accolades stripped from him.  He actually owes me an Oscar.  Watch Manhunter instead.

Scream (1996)

I saw this movie at just the right time for me to see this movie. I saw it with a bunch of really good friends, and had a really good time doing it. The movie as it turns out was pretty good too, turning the usual conventions of the horror movie on its ear to great effect. This movie also benefited from an up and coming cast, a good soundtrack, and a rejuvenated director, Wes Craven, ready to attack the genre that he helped create in the first place.

Tetsuo (1998)

It’s strange that this is the only Japanese horror movie that is included in the list of 1001 movies, that I’ve seen, especially considering the fact that Japan seems to specialize in decidedly creepy horror movies. Tetsuo is really more of a bizarre, sci-fi-sex-fantasy with a fair amount of blood in it. Basically a man turns slowly and painfully into a machine, a process which grants him great strength and power, but also makes him a terrible monster at the same time. If you’d like to know if you will like it, base whether you see it on this spoiler-ish phrase…”Drill penis”. And there you have it.

The Blair Witch Project (1999)

I’m a fan of its concept, I’m a fan of the mark such a low-budget movie was able to make, but I was not a fan of the fact that it spawned a lot of cheap imitators, nor was I a fan of the movie itself. There was so much hype surrounding this movie, that it couldn’t help but fail in the eyes of a film student / horror film fan like me. You will never hear anyone say this again, ever, but I liked The Blair Witch Project 2: Book of Shadows way better.

“Ughkk…God!” – Ashley

Mulholland Dr. (2001)

My lovely wife would disagree of my assessment of this film. I thought it was an un-paralleled work of craftsmanship and genius, with a creepy/dreamy surrealistic concept that translated well to the glimmering, shining facade of Hollywood. She thought it was crap. In my humble opinion David Lynch redeemed himself after the terrible, and terribly confusing Lost Highway, to make a work that stands alongside his very best (Blue Velvet, Wild At Heart, Twin Peaks, and Twin Peaks: Fire Walk With Me). Of course he went right back to making terrible crap with Inland Empire, but there is no need to dwell on that here. Go see Mulholland Dr., one of the scariest movies that isn’t supposed to be scary , you’ll ever see!

“I know experimental narrative.  I like experimental narrative.  I went to film school to make experimental narrative.  You sir, are not an experimental narrative.” – Ashley

And there you have it.  Just a few of the horror selections on the list.  I don’t necessarily agree that these should all be held up and called the best of the best, but conversely, some of them are absolutely worthy of such distinction.  Good or bad, however, each has its importance in terms of the history and art of film.  Happy Halloween!

In the Name of Love…(and in honor of my wedding!)

So its been a while since I’ve done any of these smaller reviews, and since love is most definitely in the air, (and in honor of my getting married a few days ago) I thought I’d do some more with a nod to the romance genre. These, are all films from the list of 1001 movies, mind you, the label “Romance” has been placed on them (sometimes appropriately, sometimes inexplicably) by the 1001 Movies You Must See Before You Die book, not by me, so my apologies for any confusion (Natural Born Killers, and Abre Los Ojos, I’m looking in your general direction). Hope you enjoy!

Tirez Sur Le Pianiste AKA Shoot the Piano Player (1960)

Francois Truffaut’s second full length film after the fantastic “The 400 Blows”, wasn’t quite as good as his first outing, nor was it as iconic as his most famous, and most romanticized film, Jules et Jim, which is really the film of his that should have been on this genre list rather than Shoot the Piano Player. Jules et Jim is a portrait of the romance that can happen between men and women, between friends, and can turn from light and positive, to smothering and destructive. All that aside, Shoot the Piano Player is far from a bad film, it just doesn’t stand up as well next to the heavyweights that surround it.

Giulietta Degli Spiriti AKA Juliet of the Spirits (1965)

Once again, this film doesn’t quite fit into the tidy little mold of “Romance” that the book sort of lumps it into. Rather, Juliet of the Spirits, seeks to illustrate the freedom of cutting the strings of dependency and exiting a bad relationship. The titular Juliet, trapped in a bad relationship with a distant, and unfaithful husband and judging family, sees in her free-spirited, sexually open neighbor, a chance at being happy by herself. The looping, colorful visuals and the almost song-like nature of the films structure make Juliet of the Spirits a lot of fun to watch. This is my favorite of all of Federico Fellini’s films. Definitely worthy of its place on this list.

Harold and Maude (1971)

By removing the initial motivators of attraction (the age limitations, and socially acceptable standards of beauty), we are able to focus entirely on the real magic of a successful relationship…the relating. Struggling for attention from his parents and peers, Harold manages to find someone, Maude, who causes him to see the world in a completely different way than he normally does, and teaches him to stretch his wings and live beyond the rules that govern everyday life. Aside from teaching this 20-something young man how to deal with other people, the 70-something Maude teaches him all about his own sexuality, both in theory as well as in practice. This off beat little film, fits very well into this “romance” category.

“I wanna be Maude when I grow up.” – Ashley

Manhattan (1979)

This Woody Allen film is one of a select few of his films that I really, really like. Not only does it (famously) make New York seem like a grand, vibrant, and teeming place full of possibilities (most Woody Allen films I feel rely solely on crazy characters), but it also doesn’t make the opposite mistake of making it seem like a mad-cap thing, a ridiculous parody of itself, full of assholes and caricatures of real people. Allen really gets it right in this film.

Tootsie (1982)

Mrs. Doubtfire, but much funnier!

“Almost as good as Mrs. Doubtfire.” – Ashley

The Princess Bride (1987)

I may be a little biased. I grew up with this film and am not able to see it for any of its flaws. Not only is this film a great romance, it has so much more to offer as a movie. Adventure, humor, fractured storytelling, Fred Savage, it has everything!!! This movie really is pretty fantastic and holds up well under scrutiny, it’s a shame there aren’t more films like it out there.

“Romacticomisy!” – Ashley

When Harry Met Sally (1989)

While this isn’t nearly my favorite Rob Reiner movie (This Is Spinal Tap), it does, however, stand on its own as a very good one. It’s tried and true story of a couple of people who discover that after years of being friends and butting heads about the little things in life, they are actually in love with one another and have been secretly (secret to themselves as well as everyone else) been pining away after one another the whole time.

“Awww…” – Ashley

Say Anything (1989)

As pop culture aficionado, Chuck Klosterman, wrote in his book Sex Drugs and Cocoa Puffs, every girl dreams about taking Lloyd Dobler home to meet her parents. Or more accurately, they’re interested in the idea of Lloyd Dobler rather than any actual flesh and blood guy that may or may not share similarities with him. While this could very well be true, there is something to the romanticized tale of the young man who does everything he can to win the object of his affection. Top it all off with socially relevant, and timeless crafting of soundtrack and you’ve got yourself a Cameron Crowe movie before everyone knew what that even was.

“Mmmm….John Cusack.” – Ashley

Edward Scissorhands (1990)

Based more on the gothic style of Edward Gorey, rather than the more recent works of Tim Burton with the computer generated color spectrum of Milton Bradley board games, Edward Scissorhands is Burton at his stylistic peak. The film puts the normalcy of suburbia under the microscope attempting to find the flaws in beauty and vice versa.

“Ugly haircuts!” – Ashley

Groundhog Day (1993)

Hilarious. Hi. Lar. I. Ous! Do yourself a favor if you haven’t seen this movie, and rent, buy, borrow, or steal it. Bill Murray at his comedic finest, and for once something Andie McDowell is good in. Or more to the point, she isn’t bad in it. Chris Elliot, whether or not you love him or hate him (I personally love him), plays well off of Murray’s short fuse. The small town gags, time travel humor, and of course Ned Ryerson pay off again and again. Totally one of my favorite comedies of all time, oh and I guess it’s got some romance in it too.

“Oh, my gosh!  When the little groundhog is driving the truck…Adorable!” – Ashley

The Piano (1993)

Jane Campion is a rather hard nut for me to crack. While I didn’t fall in love with the piano, I didn’t dislike it either. It actually falls in the middle in terms of appreciation of the three films of hers that I’ve seen. I liked Holy Smoke! better, and absolutely regret seeing In The Cut (the flop with Meg Ryan trying to be luridly sexy. FYI, it doesn’t work.) Still the love story is there. Between both Harvey Keitel and Holly Hunter’s characters, as well as between Hunter’s Ada, and the piano she loves so dearly. Unfortunately, like a lot of love stories, this one has a healthy bit of tragedy mixed into it.

Natural Born Killers (1994)

While this film does contain a romance that most certainly moves the story forward, and provides conflict for the main characters (Mickey and Mallory Knox), the film itself is more an analysis of our dependence upon and love affair with television, pop-culture, and mass media as a whole. The rather juvenile and simple love story at the heart of the film is intended to be as such and as a result can’t really be considered a “romance” as it were. All that aside, I do really respect this film, all it has to say, and the skill of craftsmanship that went into creating it. It’s just that calling it a romance is like calling Die Hard a Christmas movie, it is…but it isn’t.

“Shot on every film stock available.” – Ashley

Chong Qing Sen Lin AKA Chungking Express (1994)

The first of two Wong Kar Wai movies on this list (the second being In The Mood For Love), both of which deal with the idealism and theory of love. In Chungking Express, it’s the romanticizing of the love that has passed by, and focuses on the memories and impressions of two love struck cops as they pine over the relationships that have passed them by. The real magic and whimsy of this film comes in through the cinematography and camera work. The sheer color used in this film puts most Technicolor films to shame. Hong Kong never looked so good as it does here, and it never seemed quite as magical either.

Braveheart (1995)

This is it. This is pointed to as the last great Mel Gibson movie before he decided to show the world just how crazy he actually was. Everyone I’ve ever met who’s seen it seems to be helpless against its charms. While it is good, it is not the knockout that everyone said it was before I saw it for the first time. Gibson’s typical formula of sappy sentimentality and buckets of blood and guts is certainly shocking at times, and tries to tug at the heart-strings at others, but it really ends up seeming a little too melodramatic overall. Good not great, but certainly better than The Passion of the Christ, Apocalypto, or his often publicized rants about religion, race, his wife, and the attractiveness of the officers that are simply trying to do their jobs and arrest him. I’d say do yourself a favor and watch Lethal Weapon, or the second Mad Max instead.

“Another movie about how awesome the British are!” – Ashley (said with a straight face)

Clueless (1995)

I wrote this movie off when it first came out, but since then i’ve seen it and it’s actually a pretty decent re-telling of Jane Austen’s Emma (although to be honest I had to look that up. I was under the mistaken impression that it was based on Shakespeare). Alicia Silverstone, and Paul Rudd (yup, that Paul Rudd), manage to skewer the early 90’s pretty successfully, although I’m guessing a lot of my new-found affection for it is based on nostalgia rather than an actual interest in the early 90’s. The movie features a laundry list of B level stars who, look familiar and you know you’ve seen in other places, however none of whom are really worth that much excitement (Donald Faison, Brittany Murphy, Breckin Meyer, and Jeremy Sisto, most notably).

“Like, oh my god, you totally made out with your step-brother!” – Ashley

Shine (1996)

Again we have a film that doesn’t fit into the romance category quite right. Don’t get me wrong, there is indeed a romance. That side of the story is shadowed by the larger story of the man (David Helfgott played by the capable Geoffrey Rush) and his tumultuous relationship with his music. As with the recent biography, The Kings Speech, Geoffrey Rush proves himself as an actor capable of doing so much with the time he is given on-screen. The steps of going from his passion through his breakdown, and the long hard journey back again seems utterly believable and not at all melodramatic, which is especially remarkable considering the story features, child abuse, hardship, concentration camps, war, sibling rivalry, poverty, defeat, and redemption. A remarkable achievement indeed.

Abre Los Ojos AKA Open Your Eyes (1997)

I saw this film after seeing it’s much over hyped remake, Vanilla Sky. That may have lessened the impact of the big reveal at the end by quite a lot, but I have to admit that neither film really did all that much for me. Both were okay. Both had the same interesting concept at its core, and both had Penelope Cruz playing the exact same role, but neither really had that spark that most good, and all great science fiction movies have. That concept that blows your mind, even if just a little. The romance in this case tends more towards the obsession end than most of these other films, and as a result it never really knows whether it’s more of a “Fatal Attraction” or more of a high concept “Blade Runner” type movie. In terms of its addition to the list of 1001 greatest movies ever, at least they didn’t pick Vanilla Sky. Yuck!

Titanic (1997)

In terms of ticket sales, record-breaking box office, risk of failure, and even scale of the production, Titanic deserves to be on this list. Where films like D.W. Griffith’s “Intolorance”, and Erich von Stroheim’s “Greed” ended up failing, Titanic really, against all odds, succeeded. The film rocketed the careers of Leonardo DiCaprio and Kate Winslet into the stratosphere, and cemented the reputation of director James Cameron as a director who can deliver on the scale of something like “Gone with the Wind” or “Ben-Hur”. As far as story goes, it is a fun story, but not in my opinion worth all the hullaballoo that it’s generated. Instead go see, Aliens for action combined with a strong mother/daughter relationship, or Terminator for a strong action combined with romance movie. I even liked The Abyss better, if you want a sort of action, sort of underwater space alien movie with a hint of romance. I pretty much like everything James Cameron has done without question except for Titanic which was just okay, and Avatar which was just a bloated piece of shit.

Rushmore (1998)

By far this is the most beloved Wes Anderson movie the world has ever known, by almost everyone but me. For my money, I’d take The Royal Tenenbaums any day of the week, month, year, or decade. That isn’t to say that Rushmore is bad, or that it’s craftsmanship isn’t up to snuff. I just happen to connect with and enjoy each of Anderson’s other movies far more than this one. The story, simple as it may be, involves romance but isn’t really focused on it. Max (played by the pretty awesome Jason Schwartzman) finds himself infatuated with one of his teachers at the prestigious Rushmore Academy. Coincidentally, that same teacher is the object of the attention and affections of one of Max’s mentors Herman Blume (one of Anderson’s regulars, Bill Murray). The one-ups-man-ship that follows goes to ridiculous degrees, but ultimately both characters have to learn to find love without Rosemary, the teacher in question, who is interested in neither of them.

“More like Less Anderson!” – Ashley

There’s Something About Mary (1998)

Certainly the most famous of the Farrelly Brother’s films, this is alas, not my favorite of theirs. My pick would be Dumb and Dumber which would have fit equally well into the genre of romance. Where as with Dumb and Dumber, I laughed so hard that I had trouble breathing, with Mary I only really chuckled a few times. I haven’t seen it since it was originally out in theaters, but I really haven’t had the desire. I kinda like Ben Stiller, and I do like Chris Elliott, but they are no team Jim Carrey and Jeff Daniels. Go see Dumb and Dumber!

“Which creepy guy is a girl to choose?” – Ashley

Dut Yeung Nin Wa AKA In the Mood for Love (2000)

All of the words that get thrown around when talking about beautiful, touching movies, can easily be applied to this film, In the Mood for Love, and they still seem like they don’t do it justice. Sumptuous, lush, vibrant, gorgeous, breathtaking…I could go on, but I think you get the idea, the film had an impact on me. The story of two people who are neighbors, each of whose spouses are cheating on them, find comfort in the friendship and love that develops between them. It’s entirely accurate to say that, though it’s slowly paced and a little difficult to start, once you get going, you will be hooked. This is the love affair that was only hinted at in Brief Encounter, and grazed in Lost in Translation. Quite possibly the most beautiful looking movie I have ever seen. Just talking about my memories of it makes me want to get it down off of my DVD shelf and watch it again.

“Gasp!” – Ashley

Wo Hu Cang Long AKA Crouching Tiger, Hidden Dragon (2000)

A little bit long for my taste, Crouching Tiger, Hidden Dragon is still a pretty awesome, gorgeous and sweeping kung fu movie. The romance in this film is two-fold. Firstly there is the forbidden romance between master Li Mu Bai (Chow Yun-Fat son!) and his colleague in kung fu skill Yu Shu Lien (the always exceptional Michelle Yeoh). Secondly there is the love that can only come from impetuous youth, here in the form of a skilled and impetuous assassin and the desert bandit who tested her limits. Both romances unfold during the quest for the stolen sword “Green Destiny”, as well as the assassination plot that threatens all involved…blah, blah, blah….IT HAS CHOW YUN-FAT! One of the coolest people ever to live, and exist, and be alive. See it!

“Sometimes a bitch just gotta run on a tree!” – Ashley

Y Tu Mama Tambien AKA And Your Mother Too (2001)

This coming-of-age come (no pun intended) sexual-awakening movie also serves as a portrait of the Mexico City of today. A place that despite the long distances that it has come, still has a long way to go in order to close the disperate gaps between the social and economic classes. Two young men, Tenoch (Diego Luna) and Julio (Gael Garcia Bernal) aren’t so much vying for the love of Ana, (the young woman who teaches them about their sexuality) as they are trying to one-up each other in boasting and peacockery. We watch these young men start down the road to maturity, starting as selfish, inexperienced children, and heading towards, fully grown, stronger adults. Y Tu Mama Tambien is a document of a modern-day Mexico, it’s citizens, and two young men in transition, and is well worth a watch.

Le Fabuleux Destin D’Amelie Poulain AKA Amelie (2001)

If the joie de vivre of post war Paris, and the existential longing for love and meaning found during the French new wave of the 60’s were to have a baby it would be named Amelie (or Le Fabuleux Destin D’Amelie Poulain in French). I was floored by this movie the first time I saw it. During the whole last 20 minutes or so I held my breath and, as they say, it may have gotten a bit dusty in the theater by the end. Audrey Tautou, as the beautiful, yet lonely, ingenue Amelie is perfectly cast. Director in his own right, Mathieu Kassovitz, plays her counterpart Nino, who together with Tautou, and a whole cast of Jean Pierre Jeunet regulars, brings just enough quirkiness and humor to balance out the sappy sentimentality, and potentially maudlin subject. Amelie is as light and happy as the typical french concertina music that permeates the soundtrack. A joy for the eyes, ears, and heart.

(***Warning Spoilers***)

“Beautiful, shy girl finds love in a photo booth.” – Ashley

Moulin Rouge (2001)

Yet another film taking place in the city of lights, a favorite location for romances, Moulin Rouge is a blending of old and new. The tradition of musicals blended with the song-smithing, pro-tools tinkering and visual flair of today. Following up his huge music driven success, Romeo + Juliet, director Baz Luhrman again uses hyper-kinetic imagery and aesthetic to amp up the style of 1800’s Paris. For each step forward he takes in terms of style from his last film, he takes a step backward in terms of appropriate talent of his lead actor and actress. That is to say, though both Ewan McGregor and Nicole Kidman are accomplished actors in their own rights, but they don’t quite have the singing and dancing chops of some of the actors of old. That aside, a colorful cast of secondary characters, engaging set pieces, and a well crafted romance more than make up for whatever minor shortfalls the main actors have when it comes to performance. The kaleidoscopic frenzy that the, cinematography, songs, and story add up to becomes its own sort of metronome-esque pace, and once that rhythm takes hold you don’t want it to let go.

(***Warning Spoilers***)

“Tuberculosis: The Musical!” – Ashley

So there you have it. Another 25 little reviews of films that I’d seen previous to starting this undertaking done and out of the way. I hope you’ve enjoyed them despite their brevity, or maybe because of it, and please forgive me for getting sentimental…I did just get married after all!

Rocky (1976)

Rocky – 1976

Director – John G. Avlidsen

Starring – Sylvester Stallone, Talia Shire, Burgess Meridith, and Carl Weathers

So apparently the internationally known boxing movie, Rocky, which has 5 sequels each also about boxing, really isn’t about boxing after all.  I have it on good authority (mine) that Rocky is actually the tale of a man making good.  Proving to himself that he can drive himself mentally, condition himself physically, to overcome insurmountable odds to live out his dream, or more appropriately prove to himself that he deserves to live out his dream.  Huh.  Who knew.

As you might have guessed, I was under the impression that Rocky Balboa (Sylvester Stallone, as if you didn’t already know) was simply a super patriotic, hard-willed, boxing phenom, who gives it all he’s got all the time, always with his head screwed on right and laser focus targeting his goals.  I got this impression from my third-hand knowledge of the film, and it’s super popular sequels (Rocky II, Rocky III, Rocky IV, Rocky V, and of course Rocky Balboa), always showing the titular character with a flag in the background, or doing his best, or even single-handedly defeating the Soviet Union.  It would turn out that I got the wrong impression (of the first film anyway.)

In actuality, Rocky is a bit of a lunk-head.  He has no real future, and lives to brag about his modest exploits in the boxing ring, the most spectacular of which are still pretty mediocre.  Most people who know him seem to have a similarly negative impression of him, as does Rocky himself.  He has set the bar low in his life and whether on purpose or through circumstance manages to live up to those low expectations.

Rocky would conceivably go on living this way if his often voiced dreams of being given a shot weren’t accidentally thrust upon him.  The current heavy-weight champion, Apollo Creed (one of Carl Weathers’ best roles ever) needs a punching bag for what is essentially a staged fight / publicity stunt.  Rocky is chosen because of his nickname, the “Italian Stallion”, and how it would look on the poster, or in TV ads, not for his heart, and certainly not for his fighting ability.  Creed, being a sound business man, is simply trying to sell himself, the prospect of a challenge didn’t even cross his mind.  He isn’t actually trying to give Rocky a chance, but he’s selling the idea of Rocky back to the public that knows him.

It’s not until after the spotlight is focused on Rocky that people come out of the woodwork to support him.   Although, I suppose support isn’t the right word, in actuality they are simply trying to reach for the spotlight a little themselves.  The trainer who scoffed at him, friends and acquaintances from the neighborhood, and even his opponent seek only to use Rocky to thrust themselves, their causes, and their agendas into the forefront.

His only true supporters, are his buddy Paulie, and his love interest Adrian.  It is because of their belief in him, specifically Adrian’s, that Rocky starts to really try to do it for himself.  Rather than simply drifting through with only the momentum that other people are giving him, Rocky really starts to work, testing and expanding his own limits in order to actually give it his all.

At its heart, Rocky is not about winning, it doesn’t subscribe to the notions of patriotism, and honor, and brute strength that the series is famous for, it’s about the real palpable value of a two-way, give and take, relationship between partners.  People working together to make each other stronger.  This is where Rocky (both the movie and the character) really succeeds.  This union between the meek, shy little Adrian, and the puffed up yet vulnerable Rocky manages to strengthen each character, allowing them to assert themselves and rise above the muted lives that trapped them both.

As with Stallone’s other big name franchise of the 80’s, Rambo, the spectacle, pageantry, and glitter of the sequels ends up overshadowing the raw impact that the original has.  The message ends up getting lost the further the series goes.  I’d like to think it was a conscious commentary on the 80’s themselves, but I kinda don’t think so.  To get the full impact of both Rambo and Rocky, each should be judged on the original movies alone.

Strangely enough, Sylvester Stallone actually wrote this script.  On top of that, once he found a buyer for it, he leveraged himself in as the lead as a condition of selling it.  At the time, Stallone was a little known actor who had only done tiny bit parts in semi-exploitation films like Deathrace 2000, The Lords of Flatbush, and the part of a thug in Farewell My Lovely, so his selling his screenplay AND through sheer force of will getting to star in it is a fairly Rocky-esque accomplishment in and of itself.

***Spoilers***

Typically of films of the seventies, Rocky is fairly slow-paced, more interested in character development than the spectacle of the fight at the end, and what’s most refreshing of all is that Rocky doesn’t need to win the match at the end to complete his journey.  The success of the film isn’t the outcome of the fight, it’s Rocky’s calling for Adrian afterwards.  It’s their kiss, and their focus on each other.

***End Spoilers***

Performances in the film are all iconic and as such seem at first to be a little clichéd, but since they were what the clichés are based on it quickly seems natural again. Stallone as Rocky and Talia Shire as Adrian both have roles that play to their talents.  Sly is famous for his physique  but not so much for his acting, so playing a character with the same attributes made the whole performance more believable.  Shire is by appearances very small and meek, so the role of Adrian fits her demeanor very well, and both seem equally well suited to playing against the other.

The one character that is traditionally romanticized to death, and I actually thought he was just a jerk, is Burgess Meridith as Mickey, the trainer.  Throughout the first half of the film, he only acknowledges Rocky by belittling him.  During his hat-in-hand speech asking to be Rocky’s trainer, Rocky gets understandably angry, yells at him and kicks him out of his house.  Mickey totally deserved just that very sort of treatment.  The fact that Rocky took him back and shared his spotlight is, I suppose, a way of reconciling with his past, but is still disappointing.  Granted, it was Mickey’s training that helped him get to the point where he actually had a chance, but still every argument Rocky had against him was true and accurate.

Some minor things aside, Rocky was a very enjoyable film.  Very inspiring because of the fact it didn’t depend on the boxing match, not despite it.  Given that it was such a subdued, subtle, character study, I’m frankly fairly surprised that it became as much of a popcorn fueled franchise as it has, but it’s kind of a good sign that what is essentially an art movie with something important to say can capture so many people’s hearts.  Definitely worthy of it’s place on the top 1001 movies.

“What ever happened to the dog!?” – Ashley

Picnic at Hanging Rock (1975)

Picnic at Hanging Rock – 1975

Director – Peter Weir

Starring – Rachel Roberts, Vivean Gray, Helen Morse, and Jacki Weaver

I’ve only seen a handful of films that have come out of Australia, and those that I have seen are not necessarily the cream of the crop. Firstly, there was Crocodile Dundee, the seminal fish out of water story that played itself out over the backdrop of the mid 1980’s, this was followed up by the outstanding, Crocodile Dundee 2, which simultaneously raising the stakes while staying consistent on the laughs and heart. Next, came “Pricilla, Queen of the Desert”. Actually this is a good movie, but it remains a movie that I only very vaguely remember. As such It also remains a movie that I will have to return to one day when I have more time (not sure when that day will come…), but as it stands I remember it being pretty good. And finally, I round out my Australian film education with the first two classic art-house films in the Mad Max series (by the way, the sequel, The Road Warrior, is SO much better than the long drawn out original Mad Max).

So there you have it. I walked into Picnic at Hanging Rock with considerably less than full knowledge of the Australian film experience. My introduction to Peter Weir the director was the Jim Carrey movie, The Truman Show and the Russell Crowe flick Master and Commander, neither of which I loved, but both of which I appreciated. Before watching it, Picnic seemed to be a dry period piece concerning itself with noble ideals such as manners, class, wealth and some big notions along the lines of justice and righteousness. I was surprised how well it dealt with its actual topic, guilt, and the inescapable despair that it rode in on.

The picnic in question refers to an outing for the students at an all girl school in the early 1900s, out in the beautiful but harsh Australian outback. As the poster states, a party of girls heads out, but a fair number of them are never heard from again, after they get lost at (where else) Hanging Rock.

Search and rescue missions are formulated, mounted and failed. Testimony is taken from the one surviving (? I leave this question mark because we never truly find out about what happens to the girls, so technically they all might have survived.) member of the group, yet still there are no leads. The fact that no bodies ever-present themselves is enough to keep the hope of finding them alive, but the lack of any real evidence one way or another forces the police, the community, and the school to face the unpleasant fact that they may be dead, or worse, dying.

It is this unknowing that allows the commonly felt guilt to take hold and fester. Despite the fact that no one is directly to blame, each character is wracked with crushing guilt, from the school’s strict headmistress, to the poor girl who was not allowed to go on the field trip, to the young boys who were the last people to see the group of girls alive. Everyone is affected.  Everyone is wounded so deeply by this invisible stain, that  it corrupts them all and throws their lives into disarray.

One of the film’s major strengths is the fact that there are different messages to be gleaned depending on just what you bring to the experience. Is this simply a factual yet dramatic telling of a true story? Is it an exploration of reliability of one’s narrator? Does Picnic at Hanging Rock speak, and offer commentary to the dark past of Australia’s birth and colonization? Yes, yes, and more yes.

As with most films of the seventies, the look and pacing of the film are as big a part as the acting, story, or direction. The slow methodical pace of the story serves to draw out and enhance the tension and accentuate the anguish. The color palette only helps the depiction of the tawny reds and desert browns and yellows of the harsh australian climate, and the softer look to the film stock helps the dream-like quality of the story. Since many films in the seventies had these qualities, it’s hard to tell which simply worked with what they had, a which used the film stock as a means to an end. If I had to bet, I would guess Peter Weir was one f the latter.

As with each of the characters presented in the movie, the story of what happened that St. Valentines Day in the outback leaves a mark on the viewer as well. I watched the movie nearly a year ago, and I still find myself thinking about it. Maybe not everyday like I might something like Die Hard, or JFK, but it certainly finds its way into my consciousness. Definitely a film worth seeing, although maybe not right before or after some of the aforementioned films from Australia.

***Of Special Note***

It has been quite a while since I’ve written in this blog.  A little more than a year if my calculations are correct.  A lot has changed in my life and I haven’t had the time to devote to regularly updating a project of this magnitude (pop POP!).  Needless to say, I’m not interested in giving up writing about movies although I can’t promise that I won’t need to take a break from them now and again.  That being said…I’m glad to be back at it.

Secondly, this is officially my 100th post!  So for those of you keeping score (I think it might just be me), I’ve seen and written about 100 new movies since I started this project, and since I entered into it having seen 300 of the 1001, I am at about 40% completion.  Hooray!  Only 601 more to go!