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Far
from Heaven (2002) |
6.5
/10 |
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Interesting
re-invention of 1950's cinema, crossing old style melodrama and
cinematography (gorgeous) with subject matter far too controversial
for original time period. Julianne Moore and especially Quaid give
strong performances as ideal couple until husband’s secret life is
exposed. Unfortunately, forced presentation of material many times
rings false, as with unrealistically well spoken black gardener.
[English,
107min, PG-13] |
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Fast Times At Ridgemont High
(1982) |
8.5 /10 |
|
Serves as a sad
reminder of how much the teen
movie empire has fallen. Cleverly funny and not afraid of sex (or nudity!),
this is one of the ultimate high school films. Featuring the iconic Sean
Penn role of surfer-stoner Jeff Spicoli and of course, the uber-famous
Phoebe Cates pool-side topless scene.
[English, 90min, R] |
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Fear and Loathing in Las Vegas
(1998) |
6
/10 |
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Not speaking from experience, the closest a movie has come to being one
single acid trip. Depp and Del Toro go balls out in this absolutely crazy
chronicle of Hunter S. Thompson's road "experience." Propelled forward by
the shear energy of leads, for a while, until becoming a too-long Terry
Giliam brand sensory overload.
[English,
118min, R] |
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Femme Fatale
(2002) |
3
/10 |
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Gratuity at it’s
finest. Ventures back to sex heavy thrillers of late 70's, early 80's
(familiar territory for De Palma) as an excuse to give the body of Rebecca Romijn-Stamos ample screen time. Bravado opening sequence makes good use of
operatic score and slick intercutting to build tension, not to mention a hot
lesbian encounter. Plot then ranges from the utterly ridiculous to laughable
silliness, topped off with a "you can’t be serious" twist ending.
[English, 114min, R] |
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Ferris Bueller's Day Off (1986) |
8
/10 |
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A genre classic with
a career defining performance by Matthew Broderick, who may never eclipse role
recognition. Made towards the end of John Hughes 80's hot streak, which
included most of the era's most well known teen comedies, this high schooler
"fantasy" has a number of memorable scenes and characters, serving as a
reminder of how crappy these kinds of movies have become. [English, 102min,
PG-13] |
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Fireworks
(1997) |
8.5
/10 |
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Ying-Yang grouping
of graphic violence and absolute tranquility. Uses silence better than most
movies use sound, built around Japanese superstar Takeshi Kitano's
ultra-understated
performance as a cop dealing with an injured colleague and a dying wife. Ends
on a devastating, graceful note that is far too provocative for American film
to attempt.
[Japanese, 103min, R] |
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A Fistful of Dollars
(1964) |
7.5
/10 |
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Rough, stylistic (especially for the time) remake of Japanese film
Yojimbo is more or less on par
considering genre change. Eastwood grinds his lines out so effectively that
even his gun is less intimidating and Sergio Leone knows how to milk the
drama.
[Italian,
99min, R] |
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Following
(1998) |
8.5
/10 |
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Short'n'sweet noir
from Memento director Christopher Nolan, particularly impressive considering
it was shot with friends as actors on weekends over the course of a year.
Budgetary limitations are transcended by intriguing premise that toys with
chronology while packing some good surprises along the way. Definitely worth
making an effort to watch, especially from a director evolution standpoint. [English,
69min, R] |
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For A Few Dollars More
(1965) |
8.5 /10 |
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Leone aggressively raises the ante from
A
Fistful of Dollars by giving Eastwood more personality and adding great revenge
story to anchor some superb shoot offs. Volonté's "bad guy" is just as good
here and excellent music score critically enhances drama during pivotal
moments.
[Italian, 130min, R] |
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The Fortune Cookie (1966) |
5
/10 |
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A simple, entertaining
premise about ill-judged insurance scam is made tedious by unnecessary plot
repetition and excessive running time. Noteworthy for successful ying-yang
pairing of Lemmon and Matthau, the latter particularly good as speed talking
shyster lawyer, though his highly unlikable character taints upbeat mood. Also
leaving bad taste is subplot involving football player made care-giver with
uncomfortable racist undertones.
[English, 125min,
NR] |
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Four Rooms
(1995) |
4
/10 |
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Complete misfire of
novel idea: four directors do four short films all connected by one character.
Only two parts mostly succeed (those by Rodriguez and Tarantino); Tim Roth is
spastic in his paper thin bell-boy role but Antonio Banderas gives fun
performance as overbearing father.
Coulda been a contender if talent involved had been better utilized.
[English,
98min, R] |
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Frality (2001) |
6.5
/10 |
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Bill Paxton takes on
thriller with disturbing premise for first directorial effort, but ultimately
bites off more than he can chew. Some effective scenes and decent acting
(especially child roles), but can't escape plot holes, genre conventions, and
one twist too many. Heavy religious theme results in a hypocritical denouement
that undermines most of what came before.
[English, 100min, R] |
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Freddy Got Fingered
(2001) |
3
/10 |
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Not the film travesty it was made out to be (I DID laugh a few times) but
certainly not a contribution to quality cinema. Tom Green's arguably funny TV
antics are mostly lost in this big budget upgrade.
Best scene involves a messy child birth that is so tasteless and exaggerated
that you can't help but be amused by the lunacy of it all.
[English,
87min, R] |
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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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Fresh
(1994) |
8
/10 |
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An intriguing, powerful inner city drama that makes unique stylistic choices
(especially in the music & cinematography department) that defy genre
expectations. Helped by an outstanding cast and screenplay that create
powerful, assured drama. One of the best films to be centered around a child
character.
[English, 114min, R] |
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Frida (2002) |
8
/10 |
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Salma Hayek is perfectly cast in
this stylish biopic that avoids normal superficial trappings of genre. Wisely
skips overdone "painter at work" montages, making artwork an extension of Frida
Kahlo's tormented subconscious. Exceptional art direction, cinematography, and
music enhance every scene, not to mention many star filled cameos. Alfred Molina
also fairs well as unfaithful longtime lover. Good pacing, but episodic
structure leaves murky areas towards end.
[English, 123min, R] |
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Friday (1995) |
6
/10 |
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Urban comedy, aided
considerably by Tucker and Witherspoon, that isn't afraid
of more serious issues, but being centered on two pot smoking jobless black
men doesn't help any stereotypes.
[English,
91min, R] |
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From Hell (2001) |
7
/10 |
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The Hughes brothers successfully shift from the American ghetto to the London
ghetto in this compelling, pitch dark take on famous Jack the Ripper mystery.
Sporting excellent production value (especially sound design), disturbing
imagery, and good outings from Holm and Depp, it movie manages to be an
intriguing thriller rather than simply a stylish slasher.
[English, 122min, R] |
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Full Frontal (2002) |
6.5
/10 |
|
Interesting, self-indulgent misfire from Soderbergh comments on
Hollywood and society without fresh insight. Worth seeing for talented cast,
featuring strong dramatic work from Catherine Keener & David Hyde Pierce
(Nicky Katt is hilarious as pompous theater actor). Despite intentions,
purposeful degradation of video footage will only hurt the acceptance of it as
a serious movie medium.
[English, 101min, R] |
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