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Reviews
Falling Down (1993)
Excellent Observations of Society
"Falling Down" is a film that intends to point out the many quirks and oddities of modern urban society. It succeeds in doing so, but one must look carefully. Each situation Bill Foster (Michael Douglas) faces is one that most people can relate to. However, unlike most people he decides to "fight the system" and wage war on the everyday annoyances that we all face. Foster is a People's Champion. To illustrate this, most people who watch this film naturally pull for him and see him as being a hero, mostly out of pure sympathy. However, at the end of the day, Foster is still "the bad guy" for going against the societal grain. Most viewers will find this upsetting or even unfair, considering that he fought back against many criminals and unjust forces.
Where Falling Down fails at times is during the scenes where it attempts to do too many things at once. The bits of humor throughout the film are mostly derived from over-the-top scenes, and at times Foster's actions seem cheesy and unrealistic. The fact that the film is two stories in one (Foster and Prendergast) provides a good contrast because the viewer gets to see both sides of the story. On one hand, we see an ordinary family man going bezerk (but in a way most of us can understand) and on the other hand we see a cop who believes Foster is a complete psychopath. Only the audience knows the truth. The film could have done without some of the lame subplots such as Duvall's marriage, even though those scenes illustrate his perception of being "weak" or "whipped". The film sets out to do a lot at once, which is quite necessary to create a thorough storyline, but at times doesn't come out right on film.
One scene that I have always found moving and powerful is the scene where Bill Foster sees the man who is "Not Economically Viable" protesting outside of the bank that denied him a loan. As everyone on the busy street goes about their business and ignores this man, Foster (and the viewer) are focused directly on him. Foster obviously sympathizes with this poor, hardworking man who is also being stepped on by society. As the man is escorted away in the police car he looks directly at Foster and says "don't forget me". In a gesture of sympathy and appreciation, he nods to him. The two characters share a connection. It is especially important to notice the symbolism of this scene. Both men are wearing the exact same outfits: a white short-sleeved dress shirt, black tie and black pants. They are on the opposite sides of the street. When they look at each other, even though they are white and black, it is as though they are looking into a mirror and seeing the same thing: a victim of society.
Overall, a slightly sad story that tries to do a whole lot, succeeds in most of it and provides lots of entertainment. A good storyline and an excellent observation of modern society.
Léolo (1992)
Leo the Loner
*Contains Spoilers*
There are many themes presented in the stunning Quebecois film Leolo, an offbeat portrayal of a child growing up in a dysfunctional family. Of these different themes, the most prevalent appears to be isolation, and specifically the intense isolation of the protagonist. Leo was a true loner amidst a very odd cast of family members and other supporting characters. This concept powerfully drives the film from beginning to end. Early in the film it is seen that Leo is rebellious and different than the rest of his family. He obsessively fantasizes about being from Italian heritage, constantly correcting anyone who calls him Leo rather than Leolo, his preferred Italian name. Although this seems minor, the audience learns from the start that Leo views himself as something that he is not. This can be interpreted as his method of escape. By assuming a different name and identity, Leo lives in his own little world far removed from his family. He disassociates himself with his flesh and blood, establishing a sense of independence and isolation. Leo's most interesting moments throughout the film come when he is alone. The intimate scenes in the bathroom with his piece of liver and porno rags are quite vivid examples. Leo tends to rebel and plot against his family much against their knowledge and he typically does so behind closed doors. His behavior is sneaky and crafty, seen best in the scenes where he attempts to hang his sleazy grandfather or fake a s***. He is voyeuristic, as well. Leo enjoys watching his object of desire, Bianca from a distance by himself. The film ends with Leo alone and further isolated from his family in the hospital. One of the last images the audience receives is that of a lone boy in an empty room. Leo's brother, Fernand is also an isolated soul. Tormented in his youth by the local bully, he trains and becomes muscular and powerful, creating a shield between himself and society. Fernand believes that this transformation will prevent him from being further bullied, and isolates himself in this perceived barricade. Ultimately, it is revealed that Fernand is no different as a powerful man than he was as a skinny teen. His attempt to isolate and protect himself from society fails tragically. The fact that the film is entirely narrated contributes to the notion that Leo is a loner. The narrative perspective is that of an outsider looking in, making observations while keeping a certain distance. The viewer never gets the feeling that Leo is truly part of the family. Rather, he is an observer much like a member of the audience. Certain other films have used this technique well, particularly those made by Martin Scorsese. Both Goodfellas and Casino use similar narration, allowing the audience a greater understanding as outsiders. On a side note, I must mention that I loved this film. I found it downright hilarious and outrageous for the most part. Director Jean-Claude Lauzon created a masterpiece with Leolo which reminds me of another very dark and twisted film, Belgium's Man Bites Dog (or C'est Arrive Pres de Chez Vous as it was originally titled). While both films are heavy in content and perhaps offensive to some, the daring humor must be appreciated. The theme of isolation serves Leolo well and helps Leo's character establish independence and appear more `normal' than his family. Had Leo been just as strange as everyone else, the film would have failed. Without contrast or conflicting viewpoints, craziness appears diluted. Fortunately, in Leolo it is portrayed as powerfully as could be, thanks to Leo the Loner.
Big Wednesday (1978)
Defines a generation
SPOIL ALERT! Big Wednesday is perhaps the most underrated film of all time-- it is simply an unbelievable film. It is a film that depends on each scene, each character and each line spoken to make the story work. I have never seen a film with such a great cast of characters and such a feeling of change. If this film were to be summarized briefly it would be rendered a film that showcases the effects of change. The beginning era in 1962 shows the era of innocence, partying, sex, and the era of Bear. In the early scenes, Bear is looked up to by all the surfers as a God... a man who knows all. Perhaps the greatest two scenes in the beginning come when Bear is making the "Big Wave board" and speaking of the day when "a swell so big will wipe everything that came before it". Of course, the board is ridden during the famous Big Wednesday of 1974, just as Bear had predicted. The other great scene is the party scene. Amongst my friends and myself, we now refer to awesome parties as "Big Wednesday parties", but of course none of them can compare. The second era shows Matt as the drunk, and Jack as the straight-laced lifeguard. Bear is prosperous as ever, running his huge store despite earlier being upset at "living like an inlander". A key scene comes when Matt the drunk goes to Bear for advice, and Bear again proves his wisdom. A major element of change can be seen when in 1974 it is Bear who is the drunk and Matt is attempting to give him advice. Perhaps the one line that Bear says which shows his major change is "I'm just a garbage man!" after being queried about his surfing. While everything changes, the only thing that remains constant is Matt, Leroy and Jack's intense friendship. I could go on forever, but I'd rather leave it to others to watch despite my spoils. This film will make you embrace youth and friendship like no other picture could ever do. 10/10
Halloween (1978)
Greatest horror film ever! Pure terror.
Halloween is simply the greatest horror film of all time. The film creates an eerie atmosphere that will easily frighten just about any viewer. Relying on this atmosphere of terror, John Carpenter creates a masterpiece in fear. Excellent camera shots add greatly to the film, and Carpenter's original score remains the freakiest I have ever heard. The film plays with your emotions terribly, and Donald Pleasance's performance as Loomis is one of the greatest cinematic performances I have ever seen. *SPOILER ALERT* While speaking of Myers, he explains him not as a man, but as an evil being devoid of reason, conscience, fear or remorse. When Myers is seen disguised in what is probably the scariest looking mask I have ever seen, it seems to add to his inhuman nature. I really can't say enough about this movie..... certain scenes where Donald Pleasance is loomising Myers to Sheriff Brackett (like the scene in the Myers house) attests to Pleasance's acting abilities to portray the Captain Ahab-like obsessed doctor. Many of the daytime scenes are also fantastic, such as when Myers is seen driving the wagon around Haddonfield, menacingly passing Loomis and Laurie repeatedly, or following Laurie and Annie down the road-- unnoticed!! This gives example of Carpenter's ability to create fear without death... when Myers is prowling the streets, always in the background and always unnoticed, the feeling I get is relentless terror. Finally, certain lines throughout the film are brilliant and chilling... most of them coming from Loomis, such as, "he came home" or "as a matter of fact, that was", and others. It is too bad that many films throughout the 80's and 90's tried to copy certain things introduced in Halloween, turning them into cliches over time... so I can only imagine how much better this film would have been back in '78... although it is still the "original" slasher film. The death rate is very small in Halloween, but Carpenter proves here that death is not necessary to create fear. A technique used by Carpenter that makes the deaths scarier, however, is limiting them to strangulations or slow deaths, while showing the facial expressions on the victims as they die. This is a very terrifying effect. I would enjoy ranting and raving about the film for another hour, but I should stop now. The point is that this is the greatest, scariest horror film I have ever seen and it should be viewed and appreciated by all. It is unparalleled in generating a feeling of fear and terror within the viewer. 10/10!
Das Boot (1981)
Psychologically Unparalleled
Das Boot brings forth an element which most films lack. It has the ability to draw you into the film to the extent at which you feel as though you are aboard the boat. It moves at a slow pace, but this pace is necessary for the films plot-- for these young men are led into the depths of the ocean as days upon days go by without any action, orders or contacts. Slowly the fresh faced crew begins to grow beards, attesting to the length of time spent underwater. When disaster strikes repeatedly, the adversities begin to take their toll on those aboard... some falling victim to the dementia of their own minds. In essence, what Das Boot captures better than any other film I can think of at the moment is a psychological connection and understanding with those on the screen. One begins to feel pity for these poor boys, and will likely begin cheering for their survival. In the US, it allows viewers to realize that our enemies were human beings with emotions just as we have... not barbaric animals as they are sometimes painted as being. The eerieness of the desperate situations depicted in Das Boot will definitely live you chilled and moved if you watch the film correctly. The former can be captured best if you simply look straight into the eyes of the Captain and crew during the most desperate moments of the film. Only then will you see a reflection of terror so powerful that you will be blown away by the realism of this masterpiece. On a side note, make an attempt to see the directors cut of this film. While none of the scenes are particularly crucial to advancing the plot, it adds more realism and will allow you to understand certain areas of the film better. Also try to find the subtitled version as opposed to the dubbed one.
A Clockwork Orange (1971)
Unforgettable, o little droogie!
A Clockwork Orange is simply an incredible film. Stanley Kubrick hit the nail on the head with this masterpiece, which should have placed higher amongst the greatest films of all time. Most do not recognize the level of satire that the film possesses. After committing terrible ultraviolent crimes, Alex boy goes through his treatment, only to return to terrorize society in another way. What viewers must understand is that when Alex is "cured", it is his previous victims that again get the shaft from his presence. Take the old writer for example-- he is left a cripple without a wife, and Alex returns to his house in serious need of help. He offers help, although recognizing him as his previous attacker. He then drugs him and proceeds to play Beethoven's Fifth to drive him out of his mind. Although he truly relishes this moment, he again gets screwed over by the system when Alex jumps and the man is locked up. Who gets the royal treatment!? Alex boy does because he puts the system's rehab methods in serious jeopardy!! He makes the Minister of the Inferior Interior look like a fool, causing him to kiss Alex's a**e and providing him with the greatest accomodations. MIND BLOWING!! That is but one example... there are many more. The point is that this is one of the greatest, most fantastic pieces of cinematic art put together. The idea is brilliant, the acting is brilliant and the whole movie is simply superb and worth loomising. It must be watched many times, however, to be fully understood. Look out for many great, amusing scenes in the flick... when Billyboy wears a German WWII uniform... when the old man says, "FOOD ALRIGHT!? TRY THE WINE!", etc., etc. The soundtrack is also a winner. What a great film!!
Blue Velvet (1986)
Classic Lynch and Hopper's Best Peformance = A Masterpiece
Blue Velvet is certainly a masterpiece worth seeing from the outstanding and offbeat directing genius, David Lynch. The imagery used in the film could only come from the mind of Lynch, with plenty of symbolism lying within the primary colors. In almost every scene, one can find red, blue, yellow and green. Look out for other references to color and their meanings. Laura Dern symbolizes young, innocent beauty with her platinum blonde hair and white or pink outfits. Isabella Rosselini, an older, tarnished mother and wife who is emotionally scarred is quite a contrast-- black hair, black and blue outfits... the black and blue also reflect her battered status. He who steals the show is none other than the great Dennis Hopper, portraying the disturbed, eternally angry Frank Booth. This film attests to Hopper's abilities as an actor. Hats off to Dean Stockwell, who plays Booth's gay pimp friend, Ben. The scene at Ben's house brings out the best in both Hopper and Stockwell and is certainly one of the most legendary, brilliant and hilarious scenes in cinema history. Here's to Ben!