quixoboy Reviews

Apocalypse Now (1979)

Enthralling, but a bit too long...

[5 December 2003]

...That's probably because my first-ever viewing of "Apocalypse Now" was in its "Redux" version - featuring around 40 minutes of additional footage that, in the 3-hour-plus product, apparently formed the crux of what was ORIGINALLY envisioned.

Oh, well. I buy it. Contrary to what most others thought, I didn't have a problem with the film's somewhat bloated running length - though I shouldn't really be able to judge, as I have never, ever seen the film before. Fans of the original tend to side with it, and dismiss THIS 2001 re-release as a cheap marketing gimmick (which most re-releases usually are). Nevertheless, I wasn't too bothered by its epic pace; this masterful Vietnam war picture had an impact that resonated with me all the more strongly BECAUSE of its longevity. The next week I ended up viewing the tighter, original 1979 version - and, while still obviously good, I found I somewhat preferred the newer version, for its fascinating additions that lent new depth and meaning to its images.

This is a terrific, and shockingly realistic drama, showcasing unbelievable performances from an all-star cast backed by a legendary director. Obviously enough has been said about the infamous ordeal that countless cast and crew members went through to make it on location. The result was well worth it, and provides an insightful, thoroughly enjoyable window into the hellish, surreal world of the Vietnam war.

Down with Love (2003)

Uplifting and whimsical!

[1 November 2003]

I was really in love with this film (no pun intended) by the time end credits were rolling - but after they were interrupted by that fabulous telephone conversation scene with David Hyde Pierce and Sarah Paulson, I was purely delighted...and then came the wonderful "Here's to Love" music video with none other than the effervescent two leads singing and dancing up a storm in a jazzy setting! What terrific fun! I remember first catching the trailer of this film late one night and it surprised me to feel that after it finished, I wanted desperately to see that film right away! Unfortunately, by the time it was released, I couldn't get in a good time to see it, which was a tragedy - especially considering the short time it was out for.

Looking at the financial success of the film, I wasn't all that surprised that "Down with Love" turned out to be a less-than-spectacular release in terms of moviegoers and publicity. I didn't expect many mainstream audiences to warmly accept an unconventional spin on fluffy 1960's romantic comedies - not to mention one starring a cast of pretty well-known and successful actors, which could have translated to awkward placement in such a different setting of fantastically fake-looking sets and stock footage...but lo and behold, "Down with Love" turned out to be a great, great film! I cannot express my fondness and praise for this film any better. It was a good thing I came into it expecting something very over-stylized, corny, and unintentionally amusing (which is generally the case with those actual types of films from the era). Oozing with unbeatable charm and camp, this is a winning little overlooked gem.

"Down with Love" showcases the aforementioned colourful, cheesy sets (except this time with a slightly hyperkinetic, 21st-century feel to them); irresistible performances from every cast member, especially Zellweger and MacGregor (who is continuing to be one of my favourite actors following his magnificent work in "Moulin Rouge!", the "Star Wars" films, etc.); classy, show-stopping music and songs, and an overall energetic pacing with story and comic timing. I was very touched by the nice story, and its wrap-up was nothing short of beautiful. I happen to really like these kinds of films, and elsewhere I have mentioned before that I am an unabashed sucker for that type of schmaltz and melodramatic undertones. It is a wonderfully positive film, though, with impressive digs at the styles, fashion, etc. of the time period. Up with "Down with Love", I say!

The Blair Witch Project (1999)

Overrated...?

[1 November 2003]

Nah! I finally saw this film in its entirety - and I've got to say to all the haters: for those of you who thought it was boring; for those of you who thought it was jumbled, incoherent, and uneventful...you must realize that IT'S SUPPOSED TO BE MADE LIKE THAT!! Any other way of constructing the story and the individual sequences would have, at the very least, watered down the fright factor a bit.

I must say I was surprised by how genuinely creeped out I was at times when viewing this film - mostly due to the glaring lack of clichéd musical cues and ambient noise. I felt that was the absolute strongest aspect of "The Blair Witch Project", a raw, unpleasant journey into the woods captured on film by three young "filmmakers" who somehow "disappeared" as their "documentary" was being shot. Losing the map, fighting amongst companions, the discovery of random odd signs in the woods - most notably the film's trademark stick symbols - and more all serve to heighten the unbelievable realism of this infamous voyeuristic drama. I feel it deserves its cult status as one of the greatest and most original horror films ever made. It's obvious why many people saw such potential for imitation and mockery (mostly just for that signature "I'm so scared" teary-eyed Heather close-up). "The Blair Witch Project", however, cannot be called such a disaster. It's certainly a unique viewing experience, and for that I must commend it for its approach, and its lasting legacy.

Sliding Doors (1998)

Cute romantic dramedy - with a twist

[1 November 2003]

"Sliding Doors", against all my worst expectations, actually turned out to be one of the more innovative and fun romantic comedies I've seen in a while. Call it gimmicky, sure, but hey - it worked for me, anyway, seeing the two separate ways in which Gwyneth Paltrow's lead character could go based on a singular action (or lack thereof)...in this case, the boarding of a subway train. The result of her either catching the train or being left in the dust determines, among other things, her current relationship with her adulterous mate; her hair colour; the fate of her pleasant hookup with an interesting new man, etc. It sounds like all the makings of a corny screwball comedy - but with a weird "overlapping parallel timelines" trick tossed in to make it seem fresh. The truly weird thing, though? It actually works! Yes...I was most certainly drawn in. This is a nice, sweet little concept film that you don't hear many people talk about. I liked it, though. The characters (for the most part) were charming and endearing, what with that dry British wit, and the overall fate message of the film is one that can definitely resonate with me.

1984 (1984)

One of the great screen adaptations

[31 October 2003]

Merely a few days after finishing my read of George Orwell's fantastic 1948 novel "Nineteen Eighty-Four", I was immediately keen on looking to rent the modern film version, "1984" - filmed, appropriately enough, not only during the actual YEAR of 1984, but also during the exact same short span of months that the story took place in. This, to me, is a prime example of perfect, and unbelievably well-timed, brilliance. A picture based on such complex, prophetic, and well-known material could have turned out to be a complete disaster (which it certainly had potential for, judging from the horrendous-looking DVD cover); thankfully, however, I was not disappointed.

"1984" is probably one of the most, if not THE most, masterful transitions from book to movie I have ever seen. Easily, its most impressive aspect was its phenomenal accuracy, attention to detail, etc. In other words, this film was FAITHFUL, in every sense of the word, to its source material. One can't give such a statement about films these days.

Amazing casting, terrific musical score, and mind-blowing sets, cinematography, and direction, "1984" is surely a unique treasure, and one that still retains the same timeless messages even decades since its release.

Mystic River (2003)

Profoundly moving

[25 October 2003]

The great Clint Eastwood's powerful character study "Mystic River" is a stirring and beautifully crafted tale of three male childhood friends. Many years later, as full-grown adults, their lives suddenly turn back to intertwine following the mysterious murder of the 19-year-old daughter of one of the men.

Not only was I impressed by the stellar cast assembled for this film, but I was deeply moved and saddened by the unfortunate twists and turns many people's lives took in this raw, unflinching crime drama. It's a serious, masterfully told piece of work, and everything from acting to direction to music is (not surprisingly) solid across the board...even though at times, admittedly, the film's somewhat dreary, schmaltzy tone could get a little manipulative; thankfully, such is a very, VERY minor complaint in a sea of praise for this amazing piece. One can't stop raving about the performances themselves - particularly from the spectacular trio of male leads: Sean Penn, Tim Robbins and Kevin Bacon. Absolutely astonishing and Oscar-worthy - every single one of them, and then some (supporting players, etc.) Granted, it took me a little while to get used to their sometimes grating Boston accents, but in time their convincing personalities and dilemmas grew on me heavily.

In a time where, to be brutally honest, the amount of genuinely good films is dwindling to a respectable few, "Mystic River" is a very welcome surprise for me. Taut, suspenseful, and emotional, it's a wonderful start to the much-anticipated fall season of potential award-winning films.

Swept Away (2002)

Well...THAT wasn't so bad...

[18 October 2003]

...No, really. I'm a bit surprised actually that I survived the full 90 minutes of this so-called disaster. I just finished watching it several minutes ago...and I must admit, I was blown away by how shockingly decent the film was. Actually, I daresay it was a bit above decent; if I hadn't read the countless deplorable reviews of this infamous film, I would even think this was a downright great movie! Too bad my mind has been slightly clouded (nope, make that VERY clouded) by the overwhelmingly negative rap this film has earned. Well, hear this, skeptical moviegoers: IT'S NOT SO BAD! Really!! Yeah, that's right - I am praising "Swept Away"! (gasp!!!) So sue me! If you think any shred of taste in good film I once had has now been exterminated, you can maybe stop and listen first...

I cannot believe most critics were destroying this as they did back when it was released late last year (to a dismal box-office performance, surprise, surprise). Indeed, I myself thought it initially to look interesting - until I was influenced by the near-universal animosity everyone was feeling for it. For WHAT?! Because it starred Madonna in another of her supposed vanity projects, directed by her own husband? Because it was inferior to the 1970s original (which I have never seen, so I shouldn't judge), which just happened to star the father of the actor in this version in the exact same role?? I don't know...please, help me out here!

Granted, I can somewhat see why many people have slammed it...at times, its editing, cinematography, script, etc. can leave MUCH to be desired, but hey, it was nowhere near the garbage I was expecting when I reluctantly chose to watch it - simply out of pure, sick curiosity! I am easily fascinated by what are considered the "worst" films ever, and this shouldn't be stuck in that section. Nowhere near. Sure, it has its frequent moments of camp, and sheer stupidity...but I mean, c'mon! Were you really expecting a good artistic film to be taken seriously? Give me a break! I was laughing many times...sometimes at moments that were actually supposed to be funny, and others that were unintentionally funny. This film was fantastic other times...that bizarre singing/dancing sequence of Madonna in the yellow dress was disturbing and amusing at the same time! I liked it! "Swept Away" is by no means a classic, I don't think, unless it miraculously gains an air of importance as the years pass - when people finally recognize it as the severely, severely underrated work it is. Good acting (for the most part) from the hilariously vicious two leads, nice story (and for those who think it lousy or unoriginal - remember, it's a REMAKE!!), charming music, and one of the saddest endings I've ever seen...schmaltzy, yes, but hey...I'm an unabashed sucker for that type of stuff.

This is one of the stranger experiences I've had watching a film, as I don't think I've felt this completely swayed before by a film so reviled! I actually enjoyed it, and that's starting to scare me! Oh, well...I have nothing against anyone involved, I think Madonna is a great talent. She seemed very courageous to me to take this kind of a role, in this kind of an environment. It's pretty memorable, and I hope she doesn't stop - even after this unexpected failure.

Bully (2001)

Terrifyingly real

[12 October 2003]

"Bully" is a film that snuck up on me this past year, when I just happened to catch it on one of those extra digital movie channels. I didn't really know what to expect; I had read a fair bit about the somewhat obscure drama, and knew a little about the subject matter, but nothing really concrete.

Words failed me upon the opening few minutes of this harrowing docudrama telling the story of a group of disturbed youths who intend to murder one of their most despised peers - a dark, mean-spirited bully (Nick Stahl) who torments his close friend (Brad Renfro) and everyone else. I was frightened and moved most of the time, viewing with increased squeamishness the descent of these poor teenagers into pure madness...and the scarier thing is the fact that this entire film is presented with such a raw, unflinching look at the psyche of unstable teenagers. It's done in such a way that I don't think has EVER before been this effective in a teen drama.

This is really, really powerful stuff. It's graphic, it's vile, it's nasty...but unfortunately, it's reality. The fact that this whole devastating ordeal actually happened is a source of great discomfort to me. It is no doubt a masterpiece in my eyes, just for its sheer level of pure authenticity. Sure, you hate to see and hear what these kids are doing half the time, but you've got to hand it to the cast and crew, who were able to channel the emotions and characteristics of the types of people we see every day: moody, violent, uncontrollable, careless, and dangerous young people who seem to have lost any semblance of grip on their lives, and who want to expose their anguish to the world. This is hard-hitting, voyeuristic teen drama at its very best (and worst).

Labyrinth (1986)

Fantastic!! A delightful, magical romp for the whole family!

[8 October 2003]

Perhaps I'm a little biased in saying this, but I would have automatically loved "Labyrinth" no matter WHAT...because for the past year I have discovered the musical and artistic genius of Mr. David Bowie, and I am now an unabashed fan of his work. The sheer versatility and longevity of this man is so unbelievable that I won't even let myself go off on a tangent about it, because I'm sure you've heard it all before!

But I digress (as usual)...and with regards to the film itself, it really is an underrated classic from the late '80s - a masterful and amazingly imaginative journey into an other-worldly place. When Sarah's (Jennifer Connelly) noisy little baby brother is unexpectedly taken away by the goblin characters in her favourite storybook, she suddenly realizes that the only way to be able to get him back is to find her way through an intricate and frightening maze (also in her story) - the "labyrinth", if you will. Basically, as she progresses along, she comes across loads and loads of surreal obstacles, hilarious creatures, and interesting setpieces that lay the ground for a wholly creative odyssey.

I found myself to be very impressed by the clear effort put into this project to make it seem fresh and unique. Sure, a few parts here and there totally reek of the cheesy late-'80s style - you can't omit the Goblin King's (David Bowie) eye-popping outfit - but for the most part, it is a surprisingly effective and timeless children's fantasy, well-acted, well-written, well-designed, etc...plus the bonus fact that most of the film's soundtrack was exclusively composed by none other than Mr. Bowie himself! How cool is that? You've gotta love the dedication here...This is certainly a film that I wouldn't hesitate to recommend to children of any age...although I must admit that even when I watched it for the first time at a pre-adolescent (!) age, I was pretty well scared out of my wits because I had NO idea what the heck was going on! Aw, well...that was just my ignorance for you. Hopefully I've been a more sensible viewer since then.

8 Mile (2002)

A well-made, immensely enjoyable "semi-biopic"

[5 October 2003]

For all the hype that was first surrounding this film, it delivered shockingly well considering the expectations. I must admit, I was very surprised by how much I was rooting for the underdog protagonist by the end of Eminem's great drama "8 Mile". Backed by an impressive all-star cast, an amazing director, and of course, the raw, intense material that is freestyle rap, this "rags-to-riches" story is always a compelling watch. Unlike some other recent ill-fated leaps to the big screen by musicians, this film can certainly stand out as one of the few crowned jewels of 2002. It is a terrifically entertaining, and powerful, picture. I don't know if I would quite call it a masterpiece, nor would I go so far as to praise Eminem's acting as Oscar-worthy (which some people obviously did). He's a fine actor, I agree, but when one is essentially playing a sketchy version of him/herself, I don't know if that would exactly qualify for the coveted statuette.

Nevertheless, the film is a moving tale of struggle, hardship, and pain, and how much success in the world of music can mean to one person. Jimmy Smith "Bunny Rabbit" Jr. (Eminem) is truly a sympathetic character whom, despite some of his clear flaws, is the kind of person most people would want to see make it in the real world, due to his sincere dedication and his personal turmoil.

"8 Mile" is without a doubt one of the best musician-to-actor-transition films I have ever seen. Although it can be more than a little mainstream and clichéd at times, I disagree with the people who claim this film is far too tame. No way. This is about as real as it gets in the underground. It's a keeper.

Pi (1998)

Genius!

[5 October 2003]

I have yet to come even close to fully appreciating the sheer artistry and complexity of Darren Aronofsky's stunning mathematical/sci-fi thriller, "Pi". Watching this film, one can tell from the subdued effects, grainy black-and-white filter, and guerrilla-style filmmaking that this must be a low-budget independent film - NOT to try and downplay its impact, as many independent films can clearly surpass any typical Hollywood movie, in terms of style and subject matter.

"Pi" is a perfectly concrete example of how the relative absence of special effects, explosions, etc. can still help create an engaging, and thoroughly unique viewing experience. Overflowing with intensity and hyperkinetic camerawork, this is a frightening roller-coaster ride of a film; despite clocking in at less than 90 minutes, "Pi" is by no means short on resonance - but rather leaves a heavy feeling of exuberance and fascination with the material that lasts long after it's finished. At the same time, though, people who aren't as open-minded to more obscure, abstract films like this would be, I think, surprised. This is not as complicated or bewildering a film as I had expected. If one can be able to focus intently on the story, the result is rewarding, and doesn't provide for much head-scratching. Its style seems rather modern, rather hip...at times it reminded me of "The Matrix" (which, ironically, was released the FOLLOWING year) what with its slick techno musical score and its flashy opening credits.

To shy away from this film simply because of its math content is to be completely shallow and ignorant. The way it handles the material is a whole lot more interesting than you'd probably think. Like "A Beautiful Mind", "Pi" is an instant classic that serves to re-awaken my erratic interests in my poorest subject, mathematics. It's original, it's interesting, and above all - genius.

The Talented Mr. Ripley (1999)

Rich, haunting, sophisticated...

[3 October 2003]

Obviously a TON more words could be used to describe "The Talented Mr. Ripley", the underrated mystery/thriller classic from 1999 starring Matt Damon, Jude Law and Gwyneth Paltrow. First of all, I think we can get something out of the way right here and now: Regardless of what anyone can say to criticize the film, there is NO way you can knock the element that, I feel, is perfectly flawless in this film: cinematography. What lush, gorgeous and shimmering style this film has! How eye-popping! Simply watching it for its romantic Italian photography is worth a first viewing alone, hands down!

Yet, much to my mild surprise, this turned out to be an intriguing and deeply compelling journey - the journey of a very twisted, dishonest individual, and the tragic effect he has on the people he interacts with. Matt Damon as Tom Ripley is pitch-perfect, and the stunning pairing of golden upper-class yuppies Law and Paltrow did much more for the film's entertainment value than I could ever expect. Topped off with a prestigious director, masterful storytelling and a shocking final scene - this is a treasure of seductive art that I would never tire of watching over and over again.

Being John Malkovich (1999)

Defies description

[3 October 2003]

I really didn't know what to say when those final credits abruptly started rolling amongst the confounding final images of the enigma that is "Being John Malkovich". How surreal can one single film be? The sheer amount of concepts, imagery, lines, structures...it's clearly a revolutionary picture, as far as I'm concerned. No doubt about that. Very rarely do I finish watching a picture with such a disturbed, bewildered reaction as I had when my viewing of this ended. Now, I've become newly re-interested in the phenomenal genius of the two major behind-the-scenes men who put this together: Spike Jonze, and Charlie Kaufman.

How unbelievably wild, off-the-wall, and just plain "OUT THERE" can two guys be?? These guys are absolute lunatics! I couldn't believe my eyes! Not to mention the terrific casting and the amazingly-crafted storyline (that I have yet to fully comprehend, not surprisingly) - and of course, a signature scene that, I feel, will remain as one of the few most spectacularly messed-up sequences in motion picture history I have ever seen! (That would be the "Malkoviches in the restaurant" scene) Wow! What a memorable gem! Need I say more? Is there really anything else one can say about this? It's all been said before; I totally commend and give major, MAJOR props to all involved in such a great film that truly stands out as one of the most groundbreaking and innovative films of the 20th century's closing. Spike Jonze - also a world-renowned music video guru - is definitely a fascinating young talent to watch.

Waking Life (2001)

Innovative, philosophical eye candy

[28 September 2003]

"Waking Life" is one of those films that makes you just want to hug and fawn over everyone who was involved in its making. These people have won my respect and admiration for having such incredible creative abilities. They've crafted a truly unique piece of art that is undeniably beautiful to look at and experience.

The complex, fascinating journey is that of a one Wiley Wiggins, an everyday, sullen young teenager for whom life is suddenly resembling a string of surreal interactions and observations of various characters. These people range from the mundane and long-winded, to the plucky and thought-provoking, to the absolutely strange and endearing. I found myself perfectly engaged in the sometimes intense discussions for which I collected my own thoughts - sometimes disagreeing, but mostly agreeing. I'm a fairly open-minded person, and as such, I think this was a very pleasant experience, as I really love to see these types of scenes that are less action and more just simple, casual talk. Of course, the hypnotic and fluid animation (filtered over scenes that were originally live-action and shot in digital video) only served to heighten the interest, and keep the attention constantly focused on the issues.

I must say, a lot of these opinions were extremely refreshing to hear; Richard Linklater should be given tremendous kudos for being able to write and direct such a rich, philosophical milestone. I can understand some of the more confused and hostile reactions towards such an odd, unconventional picture, but to someone who personally relishes the chances some filmmakers take, this risky venture pays big, BIG dividends. If you're not the type of viewer who enjoys being pummeled with an overload of words and abstract thought, this film probably isn't for you. I'm sure it's one of those things you just have to be in the mood for - a mood to be entertained, AND enlightened.

The Color Purple (1985)

Powerful stuff

[28 September 2003]

Although I must confess I have never read this film's literary source by Alice Walker, I still found the resulting adaptation to be a supremely powerful and impressive tale directed by none other than Steven Spielberg. Upon viewing this film, I was shocked - SHOCKED - to realize that when it received the (I believe) 11 Oscar nominations for 1985, there was no Best Director nomination for Spielberg himself! The utter nerve!

But I digress...as the film itself is a harrowing piece of work, wonderfully told in its span of four decades early in the 20th century; "The Color Purple" chronicles the life of a young African-American woman (Whoopi Goldberg), and her struggle to survive and cope with the obstacles around her. In an Oscar-nominated acting debut, Goldberg is especially (and surprisingly) effective in her amazing turn as the main character. In addition to that, supporting performances by the likes of Danny Glover, Oprah Winfrey and others are of first-rate quality. The rural backdrop, complete with old-fashioned attitudes towards race and gender, provides for some isolated moments of quiet poignancy. This is a horribly underrated classic, and I feel it deserves all the acclaim it got (and still gets) for its excellent portrayals of hardship and love.

A beautiful, beautiful film. Very moving, and highly recommended.

The Godfather Part II (1974)

An enjoyable, and grandly epic, sequel...one of the best

[28 September 2003]

Over the years, I have had an unusual history of often seeing important movie sequels before their predecessors. This is by no means intentional - merely bad timing. For a long time, this viewing pattern has occurred, oddly enough, with a few films that are considered among the greatest sequels ever made ("Star Wars: The Empire Strikes Back", "Terminator 2: Judgment Day"). I can add a new title to that list: "The Godfather - Part II". Yes, I must confess, I STILL have not yet seen the original 1972 crime classic about the beloved mafia family - but I'm sure I'll get around to it someday soon. I've seen PARTS of it here and there, anyway...and this epic, Oscar-winning sequel didn't surprise me in making me think of it as most likely superior to the first one (and certainly FAR superior to the third one in 1990, which I heard was a bit of a clunker, unfortunately).

In any case, this is truly one of the finest FILMS, not just sequels, I have ever seen, with a scope and power that very few other pictures can rival, quite frankly. I was blown away by much of the virtuoso performances from most of the actors - of course singling out Al Pacino and Robert De Niro as the most amazing ones, especially De Niro.

A masterpiece of storytelling, beautifully directed and told. Unforgettable.

2001: A Space Odyssey (1968)

In short - perfection

[25 September 2003]

What can I really say about a film like "2001" that hasn't been repeated over and over to death?...Honestly, it doesn't take a rocket scientist (pardon the cliché - HA! Something repeated over and over to death!) to understand the fact: You can argue all you want until kingdom come, but any non-fan of Kubrick out there that loves to voice his/her pronounced dislike or hatred for his body of work is in a rather small minority. I feel a large degree of sympathy for anyone so focused on trying to tear apart a classic - a film with near-universal appeal and unanimous acclaim - with weak, tired claims that it is "long", "boring", "dated", "soulless"...First of all, a film with this kind of subject matter shouldn't be expected to be a short, hamhanded, special-effects-riddled "blockbuster" that panders to countless increasingly impatient audiences. It was never meant to be like that. Nevertheless, even when it was made and released in the late '60s - a time when, I assume, audiences had far longer attention spans - it was STILL met initially with a lot of critical uproar. People were probably walking out almost an hour before it finished; people were probably sleeping, complaining, what have you...basically, the same reaction I expect it would receive from a mainstream audience today. Yet somehow, over a long period of time, this film was finally given its long-overdue props, and genuinely recognized as one of the most important and timeless cinematic masterpieces of all time.

Is it just me - or am I being a little more long-winded and wordy than usual? Oh, well...I can get that way when reflecting on something like this. I'm very passionate about Stanley Kubrick and his work; he is without a doubt one of the true legends of filmmaking, who has also suffered from some of the most unfortunate labellings and criticisms from the media regarding his eccentricity and whatnot. Okay - so what? He can be a little off-his-rocker sometimes. I can admit to seeing that, diehard admirer that I am. I understand all the gossip and the stories that - quite frankly - were a good part of the reason I became interested in him in the first place. So you could call me a hypocrite. Maybe I am...but hey, his films and his legacy will always be of interest to me, and of course in the long run, the private nature of the artist himself isn't all that relevant, is it?

You see...I believe that Stanley Kubrick is a visual genius, no question. His trademark slow, cold, ominous shooting style is frequently a joy to behold. If someone considers his films too boring or too high-brow or whatever - then at the risk of sounding too obnoxious, you shouldn't be watching his films. Instead, you should stop right now and just leave them alone, and go see something else that may keep you awake and attentive for more than 10 seconds! I don't care what anyone says...overlong and pretentious it may be at points (I remember almost being driven to insanity the first time I saw it), but on the whole it is an absolute monument! It is an historic and landmark achievement in film and it deserves every bit of speculation, positive or negative, that comes its way. It's no big puzzle when you see that this is apparently among most international critics' Top 10 lists of the greatest motion pictures of all time! Again...you can argue that it's merely opinion, but really, as a moderate film buff, whose opinion would I trust more: that of a veteran, knowledgable movie critic, or some stubborn, close-minded, inexperienced viewer who refuses to give a hint of consideration for the opposing views? Maybe I'm starting to sound a little overly pompous at this point, and I sincerely apologize if my comments are giving off that vibe. It's just that I recently came across a rant-like statement from some no-name curmudgeon denouncing Kubrick as being a "fraud" in the history of filmmaking. I'm sure you can imagine how quietly outraged I was by such a statement - especially since the arguments backing it up were rather vague, and malicious.

At any rate, I think I've made my point clear. Nothing more needs to be said; I've said all I've needed to say. "2001" is classy, high-art filmmaking at its very finest. Period.

Kramer vs. Kramer (1979)

Endearing and sweet

[21 September 2003]

What a nice little film this is! I wasn't all that surprised when I found out it had won the Best Picture Oscar for 1979 (along with Best Actor, Best Supporting Actress, etc.) In any other hands, I'm sure, this probably wouldn't even come close to Best Picture material - for it is certainly not a large, sweeping epic, but rather a small, understated, tearjerking dramedy chronicling the turbulent life of a newly divorced couple fighting over custody of their young son.

Boasting some great performances from two VERY well-established lead actors, Dustin Hoffman and Meryl Streep, "Kramer vs. Kramer" is a wonderful, heart-wrenching journey that always keeps the viewer caring for these poor people as they self-destruct before our very eyes...and although it certainly has its fair share of sad, schmaltzy moments (which, for a film like this, are commonplace), it is never quite as manipulative as I had initially thought it would be. A very impressive and beloved classic from the closing of a landmark decade for films.

Taxi Driver (1976)

Shockingly presented; without question one of the best films of the '70s

[21 September 2003]

"Taxi Driver" was my first Martin Scorsese film, and I applaud him as well as his cast and crew for putting together a triumphant, first-rate drama. The dreamy, garish way with which he films some of the bleakest New York City streets I've ever seen is unbelievable. Combine this with a phenomenal musical score and raw, convincing character studies and you've got one of the best films of this - or any - decade.

Robert De Niro of course is fantastic as the disturbed, sympathetic character of Travis Bickle, a very lonely taxi driver for whom life is just a depressing, repetitive cycle; day-in, day-out...driving along the dangerous streets, haunted by its sick inhabitants, and driven ultimately to a terrifying physical/mental state that must be seen to be believed, Travis is easily one of the more memorable film characters I've witnessed in recent memory - realistic, vulnerable and heart-breaking. Watching him twist along through a winding path eventually leading to pure unabashed insanity brought a rare feeling of genuine concern, and disbelief. The people he meets and regularly socializes with every day, the awful conditions he's forced to put up with during the wee hours of the night...It just all seemed too perfect, the way this was put together, with its lingering images and lines, and unspeakable violence creating a shockingly convincing environment.

A solid film all around - well-deserving of classic status.

Bowling for Columbine (2002)

Provocative, stirring, insanely funny...

[20 September 2003]

It's a real shame that such a wonderful, hysterical documentary as "Bowling for Columbine" had to gradually sink to a level of infamy this past year - when, around the time it won its Oscar, reports surfaced that a good amount of footage, facts, and interviews were grossly manipulated. I have never seen any other previous works of Michael Moore, but have heard a great deal about the notoriously outspoken, leftist filmmaker who made "Roger & Me" and "The Big One". Apparently he has quite the reputation for fabricating a lot of his material, and putting such shameless spins on certain subjects that it ends up ultimately alienating the viewer.

However, as flawed as this film clearly is in some respects, one must give Mr. Moore a lot of credit for having the gusto to put together such a fascinating collage of biting social commentary - biased or not - on the U.S.' current obsessive state in gun culture and violence.

Featuring an impressive number of different interviews and celebrity run-ins with the likes of rock icon Marilyn Manson, Matt Stone (the co-creator of TV's "South Park"), and NRA spokesman Charlton Heston, "Bowling for Columbine" is a constantly riveting, never boring, look into some subject matter that I don't think has ever been presented like this before. It's certainly a very powerful piece, and contains a lot of half-serious, half-amusing coverage on everything from American history to violent influential sources to Canada by comparison...and of course, to the film's centerpiece: the tragic massacre at Columbine High School in Littleton, Colorado on April 20th, 1999.

I admire Michael Moore very much for this inspired presentation, its creative interaction, and its bevy of interesting (albeit sometimes exaggerated) "facts" on various issues. Say what you will about its credibility now, but there's no denying that this man can make a film with a rich scope and a thought-provoking atmosphere. Always a ripe topic for discussion, "Bowling for Columbine" is a flawed masterpiece of voyeuristic filmmaking, and undoubtedly one of the funniest, saddest, and most heart-wrenching pictures I have ever seen.

Gandhi (1982)

A true epic, in every sense of the word

[15 September 2003]

Very, VERY few films have had the distinct ability to move and inspire me to the point where the effect is almost life-altering. "Gandhi" - the unbelievable, first-rate biopic on the historical figure - is truly one of those films, no question whatsoever. An unsurprising sweep for the 1983 Academy Awards, this is without a doubt one of the last real "epic" motion pictures ever.

Chronicling the rich, unforgettable life of a one Mohandas K. "Mahatma" Gandhi - played to shocking perfection by the wonderful Sir Ben Kingsley - this is a film that I can say really, deeply affected me with its power, its scale, and of course, its timeless message of love and non-violence. As a matter of fact, ever since I first saw the film, and became much more aware of the back story, I can also say that Gandhi is now one of my biggest role models in life. I cannot fully express how much this great man's way of thinking - his words, his struggles, his accomplishments - has affected my own, for I am now a practicing pacifist. I am a firm believer in the value of non-violent protest, and have tried my best to apply that philosophy to most situations in my life. It has worked wonders for me, and has really changed how I view the world in terms of human nature and so forth. Like I said, VERY few films can do something like that to me.

The English Patient (1996)

Wow!

[12 September 2003]

I JUST finished watching this film about an hour ago, and - not surprisingly - a lot of the images, music, and performances still remain etched in my brain...It will probably end up that way for a long time, as this film actually holds a rather special significance for me: in my experience this was the first motion picture that familiarized me with and got me interested in watching the annual Academy Awards telecast! I can vividly remember all the near-unanimous critical praise this epic masterpiece had been receiving back in 1996, for everything from its direction to its screenplay to its passionate exchanges; I also remember the truckload of Oscars that was bestowed upon it the following year as well. Viewing the film now, for the first time, it is quite simple to see why this film managed to appeal to the critical masses. "The English Patient" truly is one of those films that has "everything" (i.e. action, adventure, romance, etc.) in my opinion. It is an impressively told, and superbly adapted film version of the Michael Ondaatje novel (which, incidentally, I had just finished reading a few weeks prior). Obviously it is not a totally flawless work when it comes to interpreting the order of some scenes (although it comes pretty darn close at times) - yet I still have a phenomenal amount of respect and admiration for all the cast and crew involved to translate this seemingly difficult-to-translate novel into a movie. Believe me. Those like me who have read the novel will probably agree that it couldn't be easy to film something like this - much less film it WELL.

If there's anything however that's really worthy of singling out to congratulate endlessly, for me it would have to be the unbelievably brilliant casting. Whoever put such a rich and talented group of actors together (all of whom were pitch-perfect for the roles) should be given a lot of credit, because these people pulled it off to shocking perfection! For me they were all very well reflective of the general way I imagined the characters in the novel (although you could say that I knew a lot about the film and its actors far before I even read the novel, but that's besides the point). They were engaging, they were beautiful, they were radiant...the ideal cast for such an old-fashioned, uplifting award-sweeping romance as this one. I loved it!

"The English Patient" is a dazzling, fine work of art that more than deserved its staggering number of Oscar wins (including the Best Picture of 1996!), and I highly recommend it. A truly well-crafted film.

The Fresh Prince of Bel-Air (1990–1996)

My all-time favourite TV series

[10 September 2003]

Of all the shows, I believe that "The Fresh Prince of Bel-Air" is the one with which I can most identify with, since I have surely seen every single episode at least a dozen times - and yet it STILL never gets tired! I cannot get sick of this show, and it's making me a bit disturbed! Just what is it that makes this show so continually appealing, even around seven years since its final episode? I'm not sure...it's certainly not just one element. Every part of this show is magic: the wonderful acting from all involved; the witty (and often painfully hysterical) one-liners and banter between characters; the hip, cool atmosphere; the music...it all perfectly fits into what has to be one of the most remarkable and well-made sitcoms of the '90s.

I find myself shocked sometimes at the number of people who have totally forgotten about this show. Granted, it DID end in 1996, and obviously a lot has happened since then (most notably the skyrocketing music & film career of a certain lead star), but I mean, come on! This show is an undisputed classic! Who can forget the wild, crazy, and just plain amusing adventures we've had with Will Smith and the Banks family?

There were times when I was just addicted to this show, I remember...it was a while back when the episodes were running in syndication every evening on TBS SuperStation...I can't believe how this show can always manage to crack me up. It's incredible. I've grown to love all these characters so much, and even now, I still wouldn't pass up an opportunity to watch yet another priceless rerun.

I agree, though, that yes, a lot of the late, LATE episodes (around the second-last and final season) had their fair share of groans, and showed some glaring signs of tedium, but thankfully, the overwhelming positive qualities of the series tower over such minor flaws - including the mysterious re-casting of Aunt Vivian's role from Janet Hubert-Whitten to Daphne Maxwell Reid; the increasingly old-hat shtick of using the same stock footage whenever Jazz gets thrown out of the Banks residence for the umpteenth time; the cursed addition of a new cast member - little Nicky Banks (Ross Bagley), etc....

It's not an entirely perfect show, certainly (but then - what show is?), and it has had its fair share of ups and downs in its moderately impressive run of six years. However, when all is said and done, in the end, this show can proudly stand on its own as a pop culture treasure. It has evolved from what seemed initially to be an awkward, cheesy, quaint little '80s/'90s Cosby rip-off to a mature, slick, and fabulously written/produced/directed program. Pure gold is what this show is.

A truly underrated, and always entertaining, gem. "The Fresh Prince of Bel-Air" is one for the ages.

Eyes Wide Shut (1999)

The perfect end to a perfect filmmaker's career

[6 September 2003]

I don't care what anyone else says. Sure, most of them say that Steven Spielberg is the greatest, most successful director of all time (which is true to a certain extent), I will always consider Stanley Kubrick to be the quintessential image of that; he is my all-time favourite filmmaker, with a style and interpretation that resonated with me from the first few seconds I saw of "The Shining" (1980), my first-ever Kubrick viewing. He is a director of unequaled talent, persistence, and vision, whose fascinating persona has been notoriously publicized in tabloid news around the globe for decades. He's been labelled "reclusive", "eccentric", a "tyrant", a "perfectionist", etc. ...Call him what you will, but you cannot deny the illustrious career he's made out of creating some of the most significant motion pictures ever.

That career was tragically shattered upon his death in March of 1999 - just a few months before the release of his now-final film: "Eyes Wide Shut", a gloomy, subdued, but hypnotic study of the human condition.

Like all the rest of Kubrick's films, "Eyes Wide Shut" of course boasts a stunning visual style that ends up making every frame look almost like a work of art. The soft, colourful palettes used throughout the film give an eerie, surreal, almost dreamy look to it. It matches the wildly dysfunctional mood of most scenes, and really lends some first-class cinematography to the proceedings.

When "Eyes Wide Shut" was released in the summer of 1999, I, unfortunately, was not able to see it. Of course, at the time, I still wasn't fully aware of just how unparalleled a genius Mr. Kubrick was, and I had yet to be fully appreciative of his unique body of work. A few years down the line...I finally caught an uncut television broadcast of the nearly three-hour film (since it was on TV it was over three hours, but that's besides the point). The reactions, emotions, and feelings simmering through me as I journeyed through this bizarre masterpiece cannot be fully expressed in words; I was captivated every minute, watching the horrific and sad tribulations faced by the film's lead couple - then-married "mega-stars" Tom Cruise and Nicole Kidman. I must say, for all the flak this film received about the acting when it was released, I was actually surprised at how ABOVE-average and well-done the performances were (as well as supporting roles). It clearly couldn't be easy for a real-life married celebrity couple (much less a non-couple) to pull it off with such uncomfortable, heavy subject matter. Forcing these two leads to question their own lives, the film does a remarkable job of presenting the psychological twists and turns of each spouse's state - and, of course, the famous, digitally-altered orgy cult sequence didn't fail to give me some nightmares with that chillingly simplistic piano score.

There is also a number of other memorable and haunting moments to be had, obviously...and the equally talked-about ending historically concludes with the perfect one-word statement before cutting to black and having the last Kubrick credits roll.

For all the legendary "porno movie" hype surrounding the more low-key end result, "Eyes Wide Shut" was apparently a gigantic disappointment to many critics and fans...but in the end, it proved that after an often-turbulent film career, one could still come out on top before abruptly leaving this world.

The perfect end to a perfect filmmaker's career. Stanley Kubrick, you will forever be missed.

Macbeth (1971)

Very surprising, and competently made film

[5 September 2003]

I remember watching this film in my Grade 11 English class when we were studying William Shakespeare's "Macbeth". Reading the story a couple of times, I rather enjoyed the classic tale to a degree. Whether or not it would convincingly translate to film, I, along with my class, was about to find out...with Roman Polanski's 1971 film adaptation, also produced by - HUGH HEFNER?!? As strangely amusing as the "Playboy" credit seemed in the opening credits, we were prepared for a very interesting take on the famous, violent play.

Shakespearean tragedies/comedies being translated to film are nothing new, of course. There have been some clear hits and misses over the decades - but fortunately, "Macbeth" does not fall into that latter "miss" category, for it is a tremendously underrated, very surprising, and overall competently made film. Roman Polanski is an excellent director here, and the acting, music, and effects (some of which - particularly the "dagger/murder" sequence - perversely amused my fellow classmates, who are obviously jaded by today's overblown, unsubtle, effects-laden "dramas") worked well for me. As well, the graphic violent and sexual nature of the film (which was also sometimes entertaining to the class, sadly) shocked me quite a bit. Of course, for a film made in 1971, Polanski's "Macbeth" isn't exactly "tame", if you will. Apparently it was rated X at the time, when the notorious film rating existed. I'm not sure if that's true or not, but it clearly wouldn't be surprising if it were, especially considering how intense this film can get - both physically and psychologically. It works extremely well as an old-fashioned action-packed thriller, and even to someone who knew the story fairly well, it was an exciting little soap opera to behold. The class really enjoyed it as well, I'm glad to say; even for all its "old" qualities (i.e. the twangy psychadelic-sounding music that plays upon the closing credits) it still achieved a certain charm that was impossible to deny.

One of the most impressive and enjoyable Shakespearean films I have ever seen, "Macbeth" deserves much more acclaim than scorn - for it is well-made, and enormously faithful to its original source, capturing all the details of ol' Scotland and its inhabitants with great care. It's a wonderful treat. Highly recommended.