shierfilm Reviews

Breakfast with Hunter (2003)

A fine document

[9/10 · 5 July 2005]

The beauty, grace and majesty of HST shines through in this 90 min. doc.

He was a giant among men, and the most striking thing about this intimate look at the Gonzo journalist was how conscious he was of everyone and everything around him.

You can't put much past this guy- he was ON. At all times.

The sequence where he's discussing the first script for Fear & Loathing the film with Alex Cox and his co-writer was the best example of how pure this guy was. He tells them with sharp, curt truth that he's not impressed with the ideas they have for a landmark passage in the book. They want to create an animated wave with Hunter (a cartoon?) riding it into the desert. He says that idea makes him angry and Mr. Cox acts like a buffoon in response. Firing him was a great footnote in the history of the film- who knows how it would have turned out with Cox at the helm.

As a longtime admirer of the Good Doctor's work, it was nice to finally see and hear him. HST has a mythic aura about him, an exotic mystery not unlike Stanley Kubrick. He's larger than life, yet if you pay close attention, you'll see that the man was more than just passionate. You'll see that he's deeply emotional, highly mischievous (but he's never malicious) and that he has high regards for his small company of friends and colleagues.

He is missed.

Gangs of New York (2002)

A Scorsese classic

[4 July 2005]

Time will prove Gangs of New York to be an exhalted classic.

The first time I saw it in theatres (Christmas 2002) I admired the spectacle but the story left me cold. It wasn't until I started watching the DVD that it sunk in how grand and beautiful this film is.

The production design is stellar. No one can say the film doesn't look authentic (New York 1860's). From the glorious costumes and sets to the extremely evocative music, Scorsese has re-defined verisimilitude. Check out the featurettes on the DVD re: set design and costumes. Your jaw will drop at the scale and scope of Martins' vision.

But to the most important of matters: STORY. This is American history, or to be specific: New York City history. One viewing will not suffice. This film demands your attention, and discerning film buffs should be enthralled that a film of this type has been made. (So many movies today lack passion and power. God bless the master Scorsese).

We are taken to The Five Points, a slummy area of New York. Immigrants are flooding in, coming off ships from Ireland & Europe, and the "Natives" are quite upset that their "chosen ground" has been polluted with people who were not "born right-wise". The climate is so ominous and poverty-stricken and gritty, that just about anything goes. In Scorsese's movie we see just what it was like in those insane days of war & corruption and new beginnings.

You have gangs who capitalize on the social scene (if that's a proper phrase), you have Boss Tweed ripping everything off, you have the civil war, you have an anti-immigrant butcher (who also runs a fire hall) creating and maintaining fear of loss of his countries' identity, and you have a spirited son of a Priest who lays to rest "his father's ghost".

Masterpiece. The film is awesomely compelling from start to finish.

The reasons? Director. (Martin Scorsese) Actor. (Daniel-Day Lewis) Photography. (Michael Ballhaus) Set/Production Design (Dante Ferreti) Editing (Thelma Schoonmaker) Music (Robertson, Pook, etc..)

All elements vital to the creation of classic film art.

I could talk about this film for hours, but I'll settle for watching it over and over and over again. It never loses it's power or integrity and I thank the cinema Gods that Scorsese exists. His films have a quality that defies the simple term "movies".

His work is special and for those who know, this film is an "I remember you, New York" from a man who was born there and will probably die there.

Batman Begins (2005)

Dark Knight for the Ages

[22 June 2005]

*SPOILERS*SPOILERS*SPOILERS

The studio and the filmmakers have given us all the things that make Batman such a God among comic book characters.

Bruce Wayne has psychological problems. His parents were murdered right in front of him. In Burton's film this was handled with intensity as well, but Nolan made it even more important. The sheer drama of the scene elevates the story arc. The death of Thomas and Martha is what makes Batman Batman. In Frank Miller's YEAR ONE (part one) he put Bruce on his knees between his slain parents on the cover. (An overhead drawing-powerful, succinct)

Nolan knows how important this is to the character.

Bruce's psyche is so shook up by this early tragedy that he has no desire to do anything but instill fear into the types of criminals that shot his folks.

Like The Punisher, everything he cared about was ripped away. Like The Punisher, he is mistaken for a vigilante (even the crooks say he's a loose cannon) Like The Punisher, he PUNISHES. With prejudice. With righteousness, with sweet justification.

I've talked to a few people who didn't like the movie. When I ask why I get different reasons: "My expectations were too high", "Liam Neeson is all of a sudden a bad guy? How could he not foresee Bruce refusing to be an executioner?", "The bat-suit still sucks", etc. etc.

My expectations were high as well but Nolan surpassed them. The scene when Batman's cowl "melts" into a macabre halloween mask and he rages at the perp...that scene alone makes the film the best Batman film ever. That was a scene that was aimed directly at fans of the character. when I saw the cowl melt I clenched my fists and said "----in' A" in my head. Instilling fear into criminals is driven home with that little scene. Bale's husky whisper cannot be understated-it's vitally important for Batman to be stealthy, and the voice is just as important as the footsteps.

Poetry. Cinematic poetry.

Michael Caine embodies Alfred the way he should be, and he steals the limelight from Michael Gough (who I think is the best Alfred), and the humour is very welcome. Alfred is the only person in Batman's life who has his complete trust and respect. You treat Alfred as a joke, a sidekick, and you are committing heresy. In the comics Alfred is extremely vital to Batman's cause, and he even became a costumed hero who died (1966) called "THE OUTSIDER". People gotta realize Alfred is just as important to Bruce Wayne as Watson is to Holmes.

Gary Oldman is the secret weapon. This James Gordon is the James Gordon comics fans know and love. This is the Gordon of "Hush", the Gordon of "No Man's Land", the Gordon of "The Dark Knight Returns". Oldman should never stop playing "the Commish".

Katie Holmes is forgettable, and I'm so glad Warner Bros. dropped her for the sequel. What's distressing though is that Nolan may not direct the sequel. Film-making is a long process- remember when Michael Herr talked to Kubrick about the shoot of "Apocalypse Now"?

Herr:"That was a tough shoot, Stanley". Kubrick: "They're ALL tough, Michael".

Cillian Murphy is incredible as Scarecrow/Dr. J. Crane. He's got that Harry Osborn thing going on, but Nolan directs him in a way that gives great power and depth and meaning to his scenes. Dude's psychotic! As in the comics. Amen on the treatment of the characters. Blessed be we...

Ken Watanabe attempts and succeeds at evoking Toshiro Mifune in a Kurosawa film. His *brief* scenes have weight. More WATANABE!

The editing of the film must be singled out as a major reason why the movie works. Lightning fast edits (As Oliver Stone said: "the audience thinks fast")allow us to digest the controlled fury of Batman's M.O. The fights are usually blurs, shadows of pastiche, clouds of war. Batman waits, stalks, unleashes. He is the Dark Knight, surrounded by darkness. Darkness that made him who he is. He's a psychologically wounded warrior (nee soldier), and whether or not we agree with his forms of "justice" we understand why he does it.

Nolan and co. have nailed Batman cinematic ally. Just like Miller & Rodriguez nailed "SIN CITY" cinematic ally.

We should be grateful films of this calibre are still being made. Christian Bale is Batman. He's the first actor to embody and emote that characters' very real and very complex life.

This isn't a "Biff Bam" or a "chicks like the car" Batman movie.

It's the beginning of a legend.

Sin City (2005)

You wanna see what Rodriguez has got?

[10/10 · 21 April 2005]

This film is one that will polarize. Either you'll hate it or love it.

I love it. I think it's a masterpiece of digital movie-making.

Mickey Rourke is outstanding as Marv. Clive Owen as Dwight makes a case for taking over as the Punisher. Benicio is bone-chillingly great as Jackie-Boy. And don't forget the dames, all of whom have unique character and styles. Rosario Dawson can whip me anytime she likes. Meow baby.

Sin City will not show you characters or situations that jive with your everyday existence. It will show you a sinister metropolis populated with odd souls, cool cars and dark nights.

It's replete with graphic violence from classic graphic novels. It's high on it's own gloom, it's seedier than an everything bagel, it's Gothic atmosphere evokes the Borgo Pass.

Thank you Frank and Robert. You've made the film I've been waiting for. As a comic book fan and cinema buff, your movie is a dream come true. There are lots of comic movies, but SIN CITY has just entered the elite eschelon.

Hellraiser (1987)

Such Sights To Show You..

[31 March 2005]

Praise the Horror Gods for the existence of Clive Barker. His first film masterpiece HELLRAISER is the blast of hellfire the genre needed.

The story:

Frank Cotton bought a mysterious box that "opens doors". His brother Larry and wife Julia bought a new house. Serial killing must occur in order to maintain the "status quo". Enter the cutie daughter Kirstie. Enter the Cenobites (a supernatural tribe of monsters).

The result:

a film you'll never forget. Barker created a special work here. He has horrific images sure, but there is a beauty to the visceral carnage that I can't put my finger on. Poetic Purgatory?

The Cenobites are disturbing but very interesting: the chattering teeth, the gross visages, the mystery of their realm... Pinhead is particularly odd- it's hard to not feel SOMETHING when you see the nails in his skull, which I heard represent "rage".

In any event this is neo-horror at it's finest. I have no qualms about labelling this film a definite classic.

Fahrenheit 9/11 (2004)

Burn, Bush, Burn

[29 June 2004]

I'm so sick of people railing against this film. Moore lets the images speak for themselves. How many shots of Bush speaking as a mentally retarded cowboy do you need to see before you draw the conclusion that he's a giant money-hungry idiot?

Moore's not just "one-sided", he's not just "attacking Bush". He's showing us the corruption, warts and all, and people can't handle it. They won't acknowledge it. Moore's sounding the alarm, AGAIN, for those who haven't heard it since Dubya stole the election. You can attack Michael Moore all you want. His crimes (if any) pale in comparison to that colossal egomaniac who sits in the white house AS WE SPEAK.

Do something America. Or you're in for a world of hurt, which is just a continuation of the current situation.

The images spoke for themselves. The government is full of stupid, stupid people.

Pink Floyd: The Wall (1982)

an Alan Parker classic

[20 May 2004]

PINK FLOYD: The Wall is a powerful warning shot, a cautionary tale even.

"Another Brick in the Wall" part 2 will blow your mind. If you're a punk, then pay close attention to this film. Highly surreal, this movie is a "what we have become- comfortably numb" reflection of Roger Waters psyche in the late 70's.

Parker's finest hour- Bob Geldof is a strange choice for Pink, but it somehow works. He's quite compelling to look at, and I found myself in complete sympathy with his plight.

The world is cruel, where is the hope?

"Mother do you think we'll drop the bomb" is another killer sequence. The music is perfect for the images, which morph into surreal animation from time to time.

Hard-hitting, emotional, beautiful, classic- these are words which fit this film. I've seen it many times, and will see it many more.

Starsky & Hutch (2004)

One sweet machine (and movie)

[24 March 2004]

To all the people who posted negatively: back up the bus, Chachi!

Starsky & Hutch was one fantastic, hilarious movie. It does absolutely no harm to the original series and I would even say it honors it.

The director & editor did a killer job. (So did the wardrobe dept.) The Gran Torino looked luminous on the big screen, all of the performances were outstanding and the soundtrack kicked ass. Who doesn't get pumped up hearing "SWEET EMOTION" blaring in 5.1 Dolby Digital?

But the real praise goes to Stiller & Wilson- a virtuoso comedy team. Bravo, guys- fine fine work. Laughed my ass off. Praise the cinema gods you're doing another one. I can only imagine what you're gonna do next.

This film BURIES that McG series with the three skanks....

HWY: An American Pastoral (1969)

Take the highway

[19 January 2004]

Like the man himself, HWY: An American Pastoral is complex and mysterious. He hits the road like Kerouac, wandering, searching for meaning.

Morrison's Mustang Cobra cruises the highways of a forgotten America, the unknown lurking behind every rock edifice and cactus that dots his journey. He's almost like Caine in Kung-Fu, except the Asian landscape is now America. Jim Morrison is on the spiritual warpath.

To see the mind of the poet at work without his bandmates is a rare gift. Jim and The Doors are/were inseperable, but this little magna carta on freedom shows us his solitary genius and glorious madness.

The soundtrack is eerie, unsettling, not quite right. But considering the artist at the heart of the film, I'm not surprised. HWY is very special. Every frame reminds the viewer that there was a man in the late 60's of immense power who dared to search for the unknown, who attempted to shake up America with words and images. He tried to tempt the gods as it were, like Loki, a man on a mission.

An American Pastoral is proof.

Total Balalaika Show (1994)

Cowboys set Helsinki on Fire

[25 October 2003]

This 1993 concert is absolutely awesome. The Leningrad Cowboys gave the Finnish people a lot for their money. Backed by the Alexandrov Red Army Choir, they set Helsinki on fire on that night in June.

Covers of The Turtles, Bob Dylan, Tom Jones, and ZZ Top are just a small aspect of this "rockumentary". (Their version of "Those Were The Days" has to be seen to be believed)

Bravo to Kaurismaki, a world-class director who achieved something really special with this concert film. It's hard to find these days, but if you can track it down, you will be in for a serious treat.

Water Drops on Burning Rocks (2000)

Deutsch et Francais- ACHTUNG BEBE!

[27 May 2003]

And I thought 8 Women was a masterpiece..

Francois Ozon is a filmmaker who is on the high road to immortality. I saw this film late one night when I couldn't sleep and it was the single most enthralling movie-watching experience I've had in that condition. Pourqois?

Three reasons: 1. The gorgeous cinematography. While it was mostly static edited shots, they were Kubrick-accurate (angled impeccably) & the color was so lush I was literally remarking aloud- "Ozon is a master". 2. The gorgeous actors. Only 4 stars in this film, and they are all excellent. Their faces are endlessly fascinating, and I do not have words to describe their beautiful bodies. (J'adore Sagnier Sagnier Sagnier!) 3. The gorgeous story. This film has it all-emotion, sex and death. Everything a successful film should have. But what I say can't come close to the experience. "Water Dropping" should drop your jaw.

The Matrix Reloaded (2003)

Excellence of Execution

[16 May 2003]

What a ride. The W. Bros. outdid themselves (especially the sfx scene where Neo rescues Morpheus & the Keymaker). This is what sci-fi/action films are all about. Take a bow, Mr. & Mr. Wachowski, because this franchise DESTROYS Star Wars. Kudos on your incredible films and incredible vision.I look forward to your rousing conclusion...

Häxan (1922)

The most sinister silent of them all

[28 March 2003]

Forget Metropolis. Haxan is THE epic silent film for the ages. I was apprehensive when I saw this, but it slowly got under my skin. It sent more shivers down my spine than any post-Exorcist horror film. And it was all because of the atmosphere. Turn off the lights, hunker down, get ready for an amazing silent film.

He Got Game (1998)

Great photography but long winded

[4 January 2003]

He Got Game is my least favorite Lee joint. It reminded me why I hate pro sports "celebrities". And I'm a little tired of the father/son films where the dad is pleading "don't do what I done wit my laff- youse can be sumbuddy!". Denzel is convincing, but there's no support around him. (unless you count the agent who says "a Rolex is like having a corvette on your wrist".)

In all fairness, the film is well crafted from an aesthetic pov, but great cinematography/lighting alone cannot carry the picture. I suppose if you love basketball this film is a must see/buy, but I think HOOP DREAMS is far far FAR superior. SPIKE! If you saw Hoop Dreams, then why make this?

The Royal Tenenbaums (2001)

Best Film of 2001

[24 December 2002]

I can't believe how many people on the imdb DON'T like this movie. It is a staggeringly original film. Gene Hackman's performance is so tightly & consciously controlled that young actors should study his work in this opus.

With a bizarre story of a family in tatters, Anderson has morphed conventional comedy into something entirely fresh & totally entertaining. Some of the reviews re: Tenenbaums smack of idle contempt from people who were weaned on Top Gun and Independence Day. have you people ever SEEN a film? Sweet Jesus, The Royal Tenenbaums is pure gold. Anyone who doesn't think so knows NOTHING about cinema. Go rent The Fast & the Furious- it's probably more your style.

Buffalo '66 (1998)

Billy Brown is an inspiring character

[13 December 2002]

Fans of good photography and intense acting should look long and hard at Buffalo 66. Mr. Gallo has given the world a film that should make you think about the power of the human mind. This is important cinema.

His performance is one of the more curious I've ever seen. With an intensity that rivals DeNiro on his best days, Vincent creates a man who you can't help loving to hate. By the end of the film you've forgiven all his agressive behavior and uncouth/unkempt persona, and, if you're like me, said: "There is hope in the world". Christina Ricci (my art-house sweetie- will you marry me?) is an angel in this. Ms. Huston lends great support as Billy's mother. Time will prove Buffalo 66 too be a landmark. No one seems to have noticed.

Lions Love (... and Lies) (1969)

If Warhol & Godard made a home movie of a trip to L.A...

[5 December 2002]

Lion's Love is a pseudo-documentary with no concrete direction. It asks us to be voyeurs of three people who define cavalierism.. An oddly fascinating look at late 60's America via the very french Varda. Hard to recommend, but cineastes of new-wave/non-linear film will love it. Worth noting for a cameo by James Douglas Morrison as a theater patron.

8 Women (2002)

Best film of the year

[7 November 2002]

I was absolutely knocked out by this gorgeous movie. I realize it was a stage play, but merde! This was one hell of an exercise in ensemble acting. Fanny Ardant is my new crush. The smoldering number she sings is enough to cripple any man or woman (in-joke). In fact, all the musical numbers had a strange power that somehow made sense. I found myself cracking up repeatedly at the rapid fire plot twists. See this divine film or die an incomplete person...

Summer of Sam (1999)

Perfect Paranoia

[7 November 2002]

Summer of Sam is a masterpiece. There, I said it.

The cinematography is stunning- are women better DP's?-SOS argues YES, the acting is wonderful, and best of all the soundtrack is perfect for paranoia. The Who were used better in SOS than Quadrophenia!!!! Time travel with this joint- it seems the Son of Sam created as much fear in 1977 as the Ripper did in turn of the century London...

All hail Spike Lee

Salvador (1986)

Stone's best?

[7 November 2002]

This is guerilla cinema, plain and simple. I bought this film out of curiosity and was absolutely blown away. The immediacy of the opening credits clued me in that I was going to see something GREAT. And great it was. So great, in fact, I think it's Oliver's best. James Woods should have won an oscar. Lock and load, kids- see Salvador and see how it's done...

Zabriskie Point (1970)

On the edge of America?

[7 November 2002]

What Antonioni lacks in plot he more than makes up for with atmosphere. His films always have a dense core to them. Zabriskie Point is about as close to the 60's political scene as I want to get. With images ripping at the seams with fervour and a soundtrack by Pink Floyd & Jerry Garcia, Antonioni presents youthful angst at its most poignant. (I still think he should have gone with his first choice for the music: The Doors).

Great film by a great filmmaker.

Spirits of the Dead (1968)

The french and the Fellini

[7 November 2002]

One must never forget that Jane Fonda used to be jaw-droppingly gorgeous. In Metzengerstein with her bro Peter she is nothing short of luminous.

Whenever I watch Spirits of the Dead I become somewhat of a zombie. (Which is the effect the filmmakers were hoping to have on viewers i think.)Staring at Brigitte Bardot's visage will do that to you-turn you into a leering, salivating member of the undead. Good God is this film interesting. While Fellini's Toby Dammit is the best, all three episodes are outstanding. "Spirits" exists to show us why foreign films will always be superior to hollywood. ciao federico...

Anatahan (1953)

Sternberg's fascinating finale

[7 November 2002]

After many months of searching I located Josef's The Saga of Anatahan. It definitely held my attention and was a unique viewing experience. A completely Japanese war tale relayed in english (?) it has a strange beauty that is difficult to approximate in plain text. I don't know how Sternberg decided on this as his last cinematic statement, but it is certainly a fascinating b & w piece.

Amadeus (1984)

It stretches the truth on Wolfie, BUT WHO CARES

[3 October 2002]

Amadeus. What can a film lover say about this gorgeous hulk?

Well, for starters, the acting is truly as good as it gets. F. Murray Abraham was born to play Salieri, and that Oscar was ALL HIS. Mr. Hulce, all due respect, but the Academy got it right that year.

The agony & the ecstasy, indeed. The divine music of "that little german boy", Wolfgang couldn't have gotten a better boost in recognition than with this extremely entertaining piece of work by the great Milos Forman. I watch this film whenever I get in a funk. It literally transports me to another time- yet the characters feel like friends & neighbors, not just some folk over in Europe.

The experience of viewing Amadeus should make you very happy. If not, then I suggest you have your pulse taken. Like golden rays of sunshine beaming down from the clouds... Have I gushed enough?

Embrace of the Vampire (1995)

Breasts of Burden

[2 October 2002]

Alyssa Milano's breasts give a terrific performance here. They play, they dance, they utter soliloquies, they defy gravity (actually not really), and they photograph well.

The dominant presence of Milano's breasts prevent the vampire story from taking root. But all is well, for we need nothing more than the incredible anticipation of seeing the breasts in another well lit shot.

Life is indeed complete because director Goursaud has committed Alyssa's ample amples to the screen in such worthy style. Salancha senorita Anne, and the sangria's on me....