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21 Grams
(2003) |
9
/10 |
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Emotionally
devastating character drama with stunning, powerhouse performances
from trio of Penn, Watts, and Del Toro. Shattered chronology is
initially disorienting but eventually lends itself to narrative
momentum. Multiple vantage points of pivotal car accident are used to
maximum effect, especially disarming hospital scene. Excellent meditation on loss, love, and guilt, even as raw anguish
occasionally threatens to suffocate story (and viewer).
[English, 124min, R] 5/09 |
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Adaptation (2002) |
9
/10 |
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Nearly indescribable
chronicling of screenwriter Charlie Kaufman’s pseudo-real life struggle with
writers block, boasting a superior dual role performance by Nicolas Cage and
an equally immersed Chris Cooper. Jonze adds trademark flair to sprawling
flashbacks, overlaps in reality, stories-within-stories, and two vividly
disturbing car accidents. A compelling, enormously unique experience, even
if lacking promised "wow ‘em" ending.
[English, 114min,
R] |
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All the President's Men
(1976) |
9 /10 |
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Redford and Hoffman
have excellent chemistry as famous Washington Post reporters in this
riveting true story of Watergate scandal. Especially convincing
portrayal of investigative journalism adds near documentary realism to
scenes of fact finding and interrogation. Cinematography in news room
maximizes angles, creating tense, fluorescent lit environment. "Hard
facts" ending avoids melodrama yet feels slightly anticlimactic.
[English,
138min, PG] |
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Amélie
(2001) |
9 /10 |
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Audrey Tautou
is utterly charming (and perfectly cast) in title role of this
immensely enjoyable ultra-cinematic experience that carries a rich
visual identity courtesy of true-auteur
Jean-Pierre Jeunet. Opening sequence, creatively listing "likes &
dislikes" of
numerous characters, is disarmingly entertaining and sets tone for a
movie that kept a smile on my face through every frame. A fantastic
example of a director in complete artistic control of the medium.
[English,
122min, R] |
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Annie Hall
(1977) |
9 /10 |
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Remarkable
film; innovative direction, consistently funny
sequences,
insightful dialogue: Woody Allen before he became his current diluted self.
Along
with When Harry Met Sally... this is one of the best
relationship movies ever
made.
[English,
93min, PG] |
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Blue
Velvet
(1986) |
9
/10 |
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Arguably
David Lynch's most successful cinematic marriage of his trademark
nightmarish style and a cohesive, engaging narrative. Pairing of young
Kyle MacLachlan and Laura Dern make for believable love story amidst
discovery of corrupt underbelly in their Norman Rockwell-esk town
(nicely symbolized in opening). Rossellini oozes frantic sex appeal
but it's Dennis Hopper's volcanic psychopath that tears through film
with explosive unpredictable rage. Excellent use of 1960s music on
soundtrack.
[English,
120min, R]
6/09 |
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Breakfast at Tiffany's
(1961) |
9 /10 |
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Excellent love story that rings true because it's allowed to develop
naturally (as in all the most effective romance movies). Audrey
Hepburn captivates in a way very few contemporary actresses could ever
hope for. Climactic standing-in-rain scene is especially moving
(before it was done 1,000 times over) and features some great lines of
dialogue.
[English,
115min, NR] |
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Double Indemnity
(1944) |
9 /10 |
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Hugely
influential and entertaining film noir with such modern minded
dialogue it rarely feels dated (aside from 1940’s technology). Fred MacMurray plays
ultimate everyday guy, seduced by a femme fatal into committing murder for
insurance money. Scenes grow increasingly tense as near perfect crime unravels
and true character motivations surface, leading to a powerful, dark climax.
Effectively updated as 1981’s steamy Body Heat.
[English,
107min, NR] |
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The French Connection (1971) |
9
/10 |
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Above all else, this
gritty cop tale directed with complete confidence by a then unstoppable
Friedkin, contains one of the most superb chases in film history involving a
speeding car desperately keeping up with an El-train. The sequence has a sense
of real excitement and danger nearly extinct from modern cinema. Other
high note is Gene Hackman who shouts and bullies his way through the taunt
story line as tough cop Popeye Doyle tracking down a shipment of high grade
heroin.
[English, 104min, R] |
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Glory (1989) |
9.5
/10 |
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Powerful and devastating look at first combative black regimen in Civil War.
Excellent score by James Horner adds to emotionally potency throughout,
especially during climactic battle scene. Mathew Broderick has success in
one of his few dramatic roles and a young Denzel holds his own and then some
along side Morgan Freeman.
[English, 122min, R]
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Hedwig and the Angry Inch
(2001) |
9
/10 |
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Even with it's best
set piece stuck in the middle and somewhat frustrating cryptic ending, this Rocky Horror
style musical is one of the most entertaining and colorfully original movies
of the year. Adapted from John Cameron Mitchell's Off-Broadway hit, the
talented writer, director, and actor is stellar in title role of botched-sex-change
entertainer. Never feels hindered by stage roots, with rousing rock numbers,
quirky transgender humor, and a refreshing creative flair.
[English, 95min, R] |
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Lantana
(2001) |
9
/10 |
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Exceptional adult drama focusing on infidelity and the emotional intricacies of
relationships. Cast is top notch, especially Anthony LaPaglia, creating entirely natural
characters. Focused and paced far better than most in genre.
[English,
121min, R] |
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Ordinary People
(1980) |
9
/10 |
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Superior drama of dysfunctional family torn by a death and their differences
in expressing emotion. Three leads are exceptional (especially young Timothy
Hutton) and Robert Redford is successfully restrained in his directorial
debut.
[English, 124min, R] |
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Paths of Glory
(1957) |
9
/10 |
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All around excellent WWI drama, far ahead of it's time thanks in no small park
to the stellar directing of Stanley Kubrick. Kirk Douglas is excellent as
Colonel who must
lead troops on "suicide mission" that becomes central conflict of taught
courtroom drama. Battle sequences are spectacularly staged and a brutal
precursor to the genre benchmark set pieces of Saving Private Ryan. Ends
on a somber note that poses war-related questions still very relevant and potent
today.
[English, 87min, NR] |
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Rashômon
(1950) |
9
/10 |
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Unprecedented
cinematic story structure tells intimate tragedy from different view points
in contradicting flashbacks. Frantic acting during dialogue scarce dramatic
segments leads to moments of fevered intensity (Machiko Kyo's Jekyll/Hyde
role a stand out), complimented by uniquely composed interrogation scenes.
Deep forest terrain is perfectly captured with sweeping dolling movements and
skyward angles of tree obscured sun.
[Japanese,
88min, PG-13] |
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The Red Violin
(1998) |
9 /10 |
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Thoroughly
engrossing tale centered on the life of
extraordinary titular instrument, sprawling across numerous time periods,
countries, and relationships. Epic journey has ambition to spare, supported by excellent
production value, a highly diverse cast, and a slowly unraveling
mystery of extraordinary intrigue.
[Various, 131min, R] |
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The Royal Tenenbaums
(2001) |
9
/10 |
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Wes Anderson
continues to impress but it will be tough
to top this excellent, thoroughly refreshing take on a dysfunctional family.
All star
cast capture their flawed characters perfectly, especially Hackman. [English, 109min, R] |
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Tape
(2001) |
9
/10 |
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Excellent claustrophobic character study with Ethan Hawke at his very best
in vibrant role. Surprisingly intense considering simplicity of set up,
which involves a single location and an old high school incident brought
back to surface. Dynamic between Hawke, Leonard, and eventually Thurman is
superior example of dialogue, acting, and directing. Cinematography fully makes use of highly portable DV
camera (although at times TOO much).
[English., 86min, R] |
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True Romance
(1993) |
9
/10 |
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Often called the
best Tarantino film Tarantino didn't direct, though a pre-"chaos vision" Tony
Scott delivers on material. Dream team ensemble of character actors surround
an Elvis channeling Christian Slater in perhaps his last decent starring role.
A dreadlocked Gary Oldman goes for broke, James Gandolfini oozes playful
menace, and Brad Pitt's stoner is a riot. Now classic mano-a-mano between
Christopher Waken and Dennis Hopper is about as good as it gets.
[English, 121min, R]
6/09 |
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