ruthierocks Reviews

The Collector (1967)

Gorgeous film; Best of the first three moral tales

[10/10 · 21 December 2008]

The first feature length moral tale, La Collectionneuse is easily better than its predecessors. Offering a realistic look into the lives of three young people and narrated perfectly by one, La Collectionneuse is a beautiful film. This is Eric Rohmer's first color feature and it is absolutely magnificent to look at. There are several gorgeous beach scenes. The cinematography all around is just glorious. Aside from that, the acting is wonderful. There is so much chemistry between the main characters that it electrifies the film. It also provides a realistic tale of the struggle to keep morality. Translated as "The Collector" in English, La Collectionneuse is an overlooked, underrated film that should be considered a classic.

The story begins with three prologues. The first, Haydee's prologue, simply shows the girl on the beach in a skimpy bikini. The second prologue introduces the viewer to Daniel, a painter, who becomes a key character. Adrien's prologue, the third and last, gives us an introduction to Adrien, who becomes our narrator throughout the rest of the film. These three characters are whom the story revolves around. Sharing a mutual friend, the three of them come to share a villa during their vacation. Adrien, an art dealer who is played by Patrick Bauchau, has made it his goal to do absolutely nothing during his stay. He and Daniel (Daniel Pommereulle) become friends fairly quickly, but both keep their distance from Haydee (Haydee Politoff), the beautiful young girl who beds a different guy every night. Adrien is at first disgusted with her behavior, calling her a "collector" of men, but eventually becomes intrigued by her. As he grows more and more attracted to her, Adrien must decide whether or not to sleep with her and forget his moral integrity or to abstain and do what he knows is right. Through his narration, Adrien debates this and plays mind games with Haydee, although he's not sure if she shares the attraction or if she simply wants to add him to her collection.

This film is simply beautiful. The sexual tension feels very real, which is due to both the performances of the actors and the direction of Eric Rohmer, who is quickly becoming one of my favorite directors. The narration is refreshing, offering a good look into Adrien's mind. La Collectionneuse is very sharp with its dialogue and themes. Like the other Rohmer films I've seen, this one ends very abruptly. It reminds us that we're watching these people's lives for only a short time. The 87 minutes is completely worth it, though. La Collectionneuse is a great film and should be regarded in higher esteem than it seems to be. I can't imagine why this one isn't ranked alongside the greats.

10/10

Nick and Norah's Infinite Playlist (2008)

I didn't expect much. I liked it less.

[5/10 · 16 December 2008]

Nick and Norah's Infinite Playlist prides itself on being hip. However, aside from a few quirks and some witty dialogue, it offers absolutely nothing fresh or original as a teen romantic comedy. To be honest, if you took away the indie rock and the weird cars, it would be just like any other teen comedy. It's been done before and it's been done better. However, Nick and Norah is still fairly entertaining and offers several laughs due to some fairly clever writing.

The story goes something like this: Nick (Michael Cera) is depressed. His girlfriend, a controlling little prep named Tris, has broken up with him. Instead of focusing on his band (consisting of two gay guys and himself – and no drummer), Nick spends his time leaving Tris various voice mails and making her enough mixed CDs to last a lifetime. Tris doesn't really care. She cheated on him the whole time they were together and throws away his CDs without listening to him. Tris's somewhat-friend Norah (Kat Dennings), however, loves the CDs. She feels a connection to Nick, but they've never met. One night, Nick and his band are playing in the same venue that Norah, Tris, and their mutual friend Caroline happen to be. Nick and Norah meet through strange circumstances and, because of how depressed Nick has been, his friends scheme to get the two of them together. What ensues is a night that the two of them will never forget.

As far as acting is concerned, Nick and Norah's Infinite Playlist offers nothing special. Both Michael Cera and Kat Dennings are good in their roles, but neither one of the actors are invoking any new territory. They've played these roles before. Nick comes off as kind of a cross between Cera's characters in Superbad and Juno. Norah is a carbon copy of Kat Dennings' character in last year's Charlie Bartlett. All three of these films were infinitely (no pun intended) better than this one. None of the other actors have a chance for a standout performance and are essentially forgettable.

The best part of this film is, arguably, the scenes between Cera and Dennings. They have some chemistry and the scenes during which the two of them talk are well written and seem real. The rest of the film hinges on ridiculous and offers some scenes that feel out of place (such as a disgusting scene involving Norah's drunk friend.. you'll know what I mean). There are several genuinely funny moments and some convincing heartfelt moments, but these are few and far between. This is basically the typical romantic comedy formula masquerading as something else through the usage of indie bands, old yellow cars, and a lot of chaos. It's not a bad film, really, but it's also not very good.

5/10

La Belle Noiseuse (1991)

If you have the patience, La Belle Noiseuse is very rewarding.

[8/10 · 15 December 2008]

In his four hour drama La Belle Noiseuse, French filmmaker Jacques Rivette has painted a haunting portrayal of an artist, a model, and the effects that a work can have on those involved. It is a brave piece of film-making, featuring physical and emotional openness. The film moves very slowly, but is very much worth watching. La Belle Noiseuse allows us to watch the creation of a piece of art and how it can change a person. This is a true accomplishment. The actors are all very much on key and, with no real script, provide real and believable dialogue. Rivette paints these characters in a very human way: it's easy to imagine these people existing. There are no movie tricks. It's a truly naked film in that it offers such an intimate look into the hearts of the main characters. Anytime a film can do this, you know it's something special.

La Belle Noiseuse revolves around two couples. Marianne and Nicolas are a young couple. Nicolas is an artist and has been invited to take a look at the studio of Frenhofer, a once revered and respected painter who has given up his art. While discussing a painting that Frenhofer never finished – the "La Belle Noiseuse" – Nicolas suggests that Frenhofer use Marianne as his model. Frenhofer agrees. However, Marianne is not very happy about this. She arrives at the studio very disheartened. As Frenhofer draws and paints her, the two of them get to know each other. Marianne's resentment falls away and she becomes more open with Frenhofer, doing as he says, asking him questions, posing how he'd like. Frenhofer wants to dig deeper. As a painter, he feels the need to really capture the essence of his model. His wife, Liz, was his last model. As a result of this need to dig deeper, he was forced to either give up painting or give up his wife. The film spends much of its four hour running time in the studio with Marianne and Frenhofer. Otherwise, there are scenes with Frenhofer and Liz, as well as with Liz and Nicolas, and Marianne and Nicolas, who are growing apart by the day.

For those who can endure the extreme running time, La Belle Noiseuse is a fascinating film to watch. The characters, as I said before, are very real. Much of the film features Marianne (played by the lovely Emmanuelle Beart) posing nude. It's a bold performance for the actress, who must bear her soul as well as her body in order for the performance to be effective. She is absolutely wonderful, as is Michel Piccoli as the bitter painter. The only problem I have with the film is not that it's so long, but that much of it focuses on the drawing. There are five and ten minute scenes where the audience watches Frenhofer sketch and paint. It's fascinating at first, but eventually becomes a bit tedious. This should not steer anyone away, though. Anyone who can appreciate slow moving character studies should be fine.

To sum up, I would recommend La Belle Noiseuse. However, a person should probably know what they are getting into prior to watching. The film is not for everyone. It takes patience to enjoy, but for those who can, it is very rewarding. Jacques Rivette is a truly revolutionary director. The other film I've seen from him, Celine and Julie Go Boating, is just as wonderful as La Belle Noiseuse, but is in a completely different universe. He is a very versatile, unique, and underrated director. La Belle Noiseuse shows this. It's a beautiful film.

9/10

WALL·E (2008)

Believe the ratings: this is the best Pixar yet.

[10/10 · 15 December 2008]

I was amazed by WALL-E. Not only was it adorable (as Pixar films always are), it had a deeper message than I expected. It also featured a sweet love story between two adorable robots. WALL-E features gorgeous animation, lovable characters (well, the robots anyway), and is a film that can be enjoyed for numerous reasons by people of all ages.

WALL-E begins with a look into the terribly polluted Earth. We watch Wall-E, an outdated robot designed to clean up the mess, and his insect friend as they go about their daily, lonely business. We learn that Earth became so polluted that a world leader sent every human into a space ship for a five year "cruise" as the robots cleaned up the planet. One day, Wall-E discovers a newer, more advanced robot. Her name is Eve. The two robots develop a relationship. But when Eve discovers plant life, she is forced to return to her spaceship as she was given a "directive." We then follow Wall-E as he tries to go with Eve and we discover some distasteful things about the planet along the way.

WALL-E is easily one of the best films of the year. It has now topped my list, beating The Dark Knight for first place right now. There are many elements that make WALL-E great. The characters are sympathetic, the message is simple but important, and it features brilliant animation. There's not a lot of talking throughout the film, but this hardly weakens it. If anything, we're better able to capture the loneliness that Wall-E suffers on a regular basis because of it. WALL-E can be enjoyed by everyone: children will love the cute robots, adolescents will be amused by certain quirks, and more mature viewers can appreciate the message presented. WALL-E is getting a lot of praise as being one of the best Pixar films and this is definitely deserved. This is a film that will stand up with the best of them.

10/10

Suzanne's Career (1963)

Takes awhile to get to where it's going, but offers a true statement regarding treatment of women.

[7/10 · 9 December 2008]

Suzanne's Career, the second of Eric Rohmer's "Six Moral Tales," is an intriguing little drama encircling the lives of three students: Bertrand, our slightly naïve narrator, Guillaume, a chauvinistic leech, and Suzanne, an easily manipulated, clingy girl whom they take advantage of. In comparison to The Girl at the Monceau Bakery (the first moral tale), Suzanne's Career is significantly darker, better acted, but somehow less effective. There's more meat here, but something gets lost in translation. It is still a good film, but it drags in places and sometimes becomes a little monotonous. If a viewer can get past that, though, the last fifteen minutes of the film is easily the best part of the entire movie.

At the beginning, we see Bertrand and Guillaume, two young college boys, having a conversation with Suzanne, a girl whom they've just met. Guillaume decides early on to use the girl, manipulate her emotions, exploit her in any way he can. And he does so effectively, for awhile. Guillaume flirts with other girls in Suzanne's presence, talks down to her, lives off of her money completely regretless. Throughout the whole thing, Bertrand stands by. He is torn between whether or not to go against his friend, who he looks up to, or to join him and manipulate the girl in order to benefit himself.

This is a fairly good film. It is longer than the first moral tale, but not quite feature length. The moral dilemma here, concerning fair and right treatment of women, is very interesting to watch unfold. It takes a little too long to get to where it's going, though. The middle drags on for longer than it needed to. There is no question that the two male characters are absolute pigs, but watching them act on their chauvinism gets a little old after awhile. However, good narration, an excellent plot, and a good statement about how people should be treated salvage this moral tale. Suzanne's Career is definitely worth the hour.

7/10

The Bakery Girl of Monceau (1963)

Very tightly woven short film with a realistic story. Good intro to "Six Moral Tales."

[9/10 · 9 December 2008]

The first of Eric Rohmer's "Six Moral Tales" collection is lovely, twenty-five minute short about a young man who must choose between the girl of his longing and another, more attainable girl. The young man in question narrates this short film. On his daily journeys, he encounters a beautiful girl named Sylvie on a regular basis. He begins to fall for her and even stalks her to a point. When he goes several days without seeing her, the young man in question begins to search for her. In his search, he encounters a small bakery. The young man begins a daily routine of entering the bakery for a cookie and the young girl who works there begins to develop feelings for him. Though the young man resists his own feelings at first, he finally decides to ask her out. Trouble results, though, when he runs into Sylvie on that very day.

The Girl at the Monceau Bakery, the first Rohmer film I'd seen, is pretty impressive. In its short (about twenty-five minute) running time, this film manages to weave a story with very believable conflict and quick resolution. This is a very simple film and does not pull any punches. The young narrator is a realistic character: he's a college student with girls on the brain. He isn't mature enough to realize that his own decisions affect others just as much as they affect him. The young man is rather selfish and the moral dilemma that he faces stems from that. The acting here is not bad, but far from first rate. It is, however, a good early achievement from Rohmer. Watching this, I am intrigued to dig deeper into his body of work.

9/10

Drugstore Cowboy (1989)

A talented director and a wonderful cast make Drugstore Cowboy a must-see film.

[9/10 · 7 December 2008]

Drugstore Cowboy is easily the best film I've seen by Gus Van Sant. It is a very bleak look at the life of four young drug addicts and their lives. Bob (Matt Dillon) is the ringleader. He's experienced, fairly intelligent, and very much addicted. His wife is Dianne (Kelly Lynch). The two of them have been together for years, always stealing and conniving in order to get their fix. Along the way, they've picked up two others (James LeGros and Heather Graham). The film shows us their lives: the way they get their drugs, how they have to constantly be on their toes to escape the police who scheme to find ways of arresting the group, and by showing the dangers of the lives they lead.

The story is narrated by Bob. At the beginning of the film, we see Bob lying in the back of an ambulance. The film is essentially Bob looking back on his recent past, determining how he got to that point. Bob and Dianne, along with Rick and Nadine, feed their addictions by robbing drugstores and hospitals. They take all the medication they can and proceed to take it, getting high and doped up on everything they can. Nothing seems to be off limits. Things start to turn ugly when Nadine places a "30 day hex" on the group. Bob is very superstitious and – at the mention of something as minimal as a dog – believes to his very soul that bad luck is on their side. In this respect, he's right. The police finally dig up some dirt, causing Bob and the gang to pack up and move. They get a hotel room and continue with their lifestyle, robbing another drugstore first, then a hospital. More bad luck ensues, and Bob has some decisions to make.

Drugstore Cowboy features and excellent cast. Matt Dillon is a wonderful Bob. Dillon, who has had his share of performances ranging from excellent to dismal, plays this role with conviction. This is a three-dimensional character with his share of problems, but who is also very tormented and easy to feel for. Bob goes through a complete transformation and, with Van Sant's careful execution and Dillon's perfect portrayal, is a very likable, relatable character. Kelly Lynch is less effective, but still rather good in the role of Bob's wife Dianne. Dianne is very torn at the beginning of the film. She's tired of Bob's schemes, the fact that he won't sleep with her, and the way in which he treats people. By the end of the film, though, Dianne seems afraid to change. She's comfortable in her lifestyle, despite the problems she may incur due to it. James LeGros does not have a lot to work with. One emotional scene, though, proves that he knows what he's doing. Rick, his character, is rather under-utilized, but still necessary. Heather Graham plays Nadine, a young and naïve teenager who has latched on to the group as a means of belonging. This is an early role for Graham, but is arguably one of her best performances. She makes Nadine a very pitiful, sad character with whom the audience can most easily feel sorry for.

Gus Van Sant has obvious talent as a director and this film is the perfect representation of that. Each character is dealt with very carefully and each actor is on key. This is easily due to Van Sant's talent as a director. Drugstore Cowboy essentially shows the degradation of young lives as a result of drug abuse. It does not glorify the lifestyle in the least, but it is also not preachy. In the hands of another director, Drugstore Cowboy may have ended up a completely different type of movie. Films like Requiem for a Dream, which tried to accomplish the same thing, are overly done and can feel more like an after school special than a realistic look into the lives of these people. Drugstore Cowboy does this perfectly and it is under Van Sant's execution that it works the way it does.

Bleak and uncompromising, Drugstore Cowboy is a very impressive film from Van Sant. It features wonderful performances from its four young actors and offers a rather realistic look into the way drug addicts live their lives. It remains intriguing throughout its entire runtime and does not look down at its audience. It contains all the elements an effective film needs to be great: a talented director, an able cast, an interesting premise, and a glorious execution. Drugstore Cowboy is not to be missed.

9/10

Riviera (2005)

Avoid at all costs

[2/10 · 29 November 2008]

I get tired of watching films that try to be too "arty." Riviera, a film that, if done right, could have been decent or even good, suffers from this problem. What essentially should have been a character study about an off-kilter mother and her wild teenage daughter became a tedious, pretentious bore. The film is not very long, but I had trouble maintaining my focus on it, taking breaks every few minutes because it was that unbearable. The only thing that saves it is the fact that the two lead actresses did very well and were convincing in their roles, despite those roles lacking any sort of substance. Riviera is a train wreck of a film and should be avoided at all costs.

The story is not a unique one. Riviera is basically the story of a middle aged mother, Antoinette (Miou-Miou), who works as a maid in hotels. She's a bit unstable, depending on her daughter Stella (Vahina Giocante) to provide meaning in her life. Stella, however, is branching out on her own. She works nights as a go-go dancer in a club frequented by all kinds of shady men. Stella is obviously trying to get away from her mother, spending less and less time with her. Antoinette is upset by this, calling her daughter all the time and asking about her every move. Eventually, Stella meets a real estate agent who is staying at the Grand Hotel, where her mother works. He's considerably older than her, but he seems to be falling for her. His interest turns to obsession and things pan out of control for both mother and daughter.

As I stated previously, the film's only highlights are the performances by Vahina Giocante and Miou-Miou as the mother/daughter duo. The two are only seen together in one scene, but the relationship between the two is evident through other scenes. Miou-Miou especially is effective. She shows her character's inner struggle by her expressions and words. These are the film's only real assets and the writer/director is crazy to have not given the two actresses more scenes together to exploit the chemistry.

The film does not work on so many levels. Stella, the daughter, does not show enough character for the audience to really care what happens to her. She's not the most likable person in the world and I felt very indifferent during the film's climax, not really caring what happened to the girl either way. The scene I'm referring to is supposed to shock the audience as it shocked the character, but it's easy to see where the film is going. I rolled my eyes at the predictability of the whole thing. The film also suffers from too much emphasis on sex. Sometimes this is OK in a film, but several of the sexual scenes in this film did nothing to further the plot and left the film at a standstill until these scenes were finished.

I guess it's obvious that I did not enjoy Riviera. It's a boring, overly long film even for it's short running time. It's easy to see why the film has not garnered enough recognition to merit even a single review that I've found. This is one that is definitely best if forgotten.

2/10

Camilla (1994)

A sweet, under-appreciated road film combining drama, comedy, and romance.

[8/10 · 28 November 2008]

Camilla is an adorable road film, combining a perfect mixture of drama, romance, and some comedy thrown in for good measure. It's a surprise for me to see so few reviews on this lovely little film. The film is about people, their relationships, and their passions. It's a fascinating character study of a young couple and an elderly woman who all need a little bit of a vacation from life.

Bridget Fonda plays Freda Lopez, a young, married woman who dreams of musical stardom. She plays guitar and sings, but she's had to put this passion on the back burner in order to support her husband Vince (Elias Koteas). The two of them have just moved south and into a small house next to an old woman named Camilla (Jessica Tandy, in one of her last roles). Camilla is also a musician – she used to play violin and, according to her stories, was quite famous on tour. Freda immediately connects with Camilla and begins to spend time getting to know and talking to the woman. At the same time, her husband is spending time with Camilla's son Harold (Maury Chaykin), who swears that his mother is senile and needs to be put into a home. When Vince announces that he's going to Canada for a work related trip that he's received thanks to Harold, Freda refuses to go with him. This causes a fight between the couple. Vince and Harold go alone. With the men gone, Freda and Camilla decide to take a little trip of their own. They head to Canada to see a violin concerto. When the men get back, they must follow their hearts to find the women.

The acting is superb here. I've always liked Bridget Fonda and I wish she would get back on the screen. She is simply adorable here. Freda is a good character: she's strong willed, knows what she believes in, but has a little self discovering to do. Bridget Fonda is excellent in this role. I couldn't imagine anyone else doing a better job. Elias Koteas, who is always wonderful, is equally good as her husband. He's not given a lot to do here, but he plays it the best he can given the material. As Camilla's son, Maury Chaykin is very effective. He embodies the angry Harold perfectly. The real standout here, though, is Jessica Tandy. It's easy to see that, even as an old woman, she was confident enough in herself to play this role as if she were young – even doing a nude scene! Camilla is a great character – she's funny, sweet, and extremely sharp for her age. Jessica Tandy is perfect here.

The film is a little predictable, but it's still very sweet. It provides several laughs and shows a realistic relationship between an elderly woman and a younger, more composed version of herself. It's a story about life, love, and how we as humans sometimes have the wrong priorities in life. Camilla is an easy film to watch – a nice, light film that can easily entertain and lift a person's spirits. With good acting, a sweet story, and a nice message, Camilla is an underrated gem of a film that should be appreciated more than it is.

8/10

Into the Wild (2007)

Beautiful film by Sean Penn. Excellent performances and a great story.

[9/10 · 28 November 2008]

Into the Wild is the heartbreaking story of a young man, fed up with society and his parents hypocrisies, who decides to make it on his own with nothing but the clothes on his back. Based on the true story and book by Joe Krakauer, Sean Penn adapted the screenplay and directed this lovely film. Sean Penn, who has proved over and over that he is an excellent actor, proves here that he also has talent in the directing area. Into the Wild is a great film and it does, in my book, rank up with some of the best of 2007. The acting here is wonderful all around and there is obviously much heart in the film. It's something I'd recommend to both film buffs and the average moviegoer. Into the Wild truly is a beautiful film that has something for everyone.

Chris McCandless (Emile Hirsch), a recent graduate of Emory University, is fed up with his parents (played by Marcia Gay Harden and William Hurt). They are too concerned with material items. They haven't really loved each other for years. They've lied to their children about their past. Chris is tired of it. Instead of coming home, he decides to get the most out of life by backpacking through the country. His destination is Alaska, where he plans to live off of the land, just be "in the wild." Chris changes his name to Alex Supertramp and begins his journey. The film is narrated by Chris' sister Carine (Jena Malone) and by his own journal writings. Carine, who still lives with their parents, gives insight into their past, telling what happened to make Chris feel like he did. His journal writings provide insight into his adventures in the wild, such as how he eats, how he feels, and every thought in his mind. The film also shows his journey to the wild, which include paddling down a dangerous river illegally, meeting a hippie couple and spending some time with them, and hitching rides on open train cars.

The acting here is superb, especially by Emile Hirsch in the lead role. This young actor has a lot of potential. I've thought that since his outstanding performance in the weak Alpha Dog a few years back. This is new heights for him, though. He plays Chris in a way that makes the audience feel for him and genuinely like him as a person. It's a great portrayal. Other highlights include Catherine Keener and Brian H. Dierker as a hippie couple, Vince Vaughn in a role unlike anything I've ever seen him play, and Kristen Stewart in a small role as a girl Chris meets along his journey. It's an excellent cast and no one seems out of place here.

The only problem I have with Into the Wild is a minor one. The film seems to drag on for quite awhile longer than it really should have. Its two and a half hour running time may have been cut down by about fifteen minutes pretty easily. That would have also tightened the film up quite a bit, making it perhaps even better than it is. This is a small complaint, though, and barely takes anything away from this wonderful film.

Sean Penn obviously has a bright future in directing. This is not his first time directing, and hopefully will not be his last. He seems to be able to get the best out actors and the emotion conveyed in the film seems very genuine and real. It's obvious in watching the film that Penn has a real passion for what he was trying to do with it. With excellent performances and beautiful scenes, Into the Wild is easily becoming one of my favorite movies of 2007. It is an excellent character study and, whether or not you know the true story of Chris McCandless, it is a rewarding experience and a two and a half hours well spent.

9/10

A Clockwork Orange (1971)

This is a rewarding experience, o my brothers..

[10/10 · 26 November 2008]

A Clockwork Orange is a revolutionary motion picture. It was surely a very controversial piece of work back in the seventies and I can see how it would still be just as chilling if released today. I have not read the novel, but the film is extremely powerful and stands, to this day, as one of the best motion pictures of all time. Stanley Kubrick is an amazing director and, with a capable cast and some Beethoven tunes, he effectively turns A Clockwork Orange into a timeless work of art. The film is not watered down, nor is it for everyone. For those who can appreciate it, though, A Clockwork Orange is a true masterpiece that does not disappoint.

Alex DeLarge (Malcolm McDowell) is a young man intent on getting his way. In the undated future of England, he and his three "droogs" – one of the many strange words he uses; this one referring to friends or cohorts – go out at night and terrorize to get what they need. The boys are content with drinking drugged milk at the Korova Milk Bar, beating up hobos, and raping innocent women in their own homes. They lie, cheat, and steal to get what they need. And they don't feel badly about it. Unfortunately for Alex, our humble narrator and lover of classical music, he's in for a little change. After being set up by his fed up buds, he is arrested for murder, sentenced to fourteen years, and he's scheming all the while to get out of it. When he hears of an experimental treatment that guarantees to "cure" him of his violent tendencies and secure him as a free citizen, he jumps at the chance. However, things do not go exactly as planned.

Malcolm McDowell – who is extremely underrated – provides an extraordinary performance as Alex. He is hilarious, terrifying, and pitiful at the same time. This could not have been an easy character to portray. Alex is a delinquent: a murdering, thieving, violent rapist. However, McDowell's performance makes him extremely likable. In the end, it's so easy to root for Alex. It would have been easy to make the character detestable, but the way in which the film develops and the way he is portrayed, Alex is our hero and friend.

As disturbing as the film is said to be, it is that much more hilarious. I was not expecting to laugh out loud at such things as I found myself laughing at. This is essentially a black comedy more than a drama. A Clockwork Orange makes many points regarding society and government, but it does so in a way that is completely satirical. Most of the laughs come from Alex's narration and the utter ridiculousness of some scenes. In one scene, Alex attacks a woman with what looks like a ceramic penis. There is also a scene in which, while reading the Bible, Alex imagines himself in certain Biblical scenes. This includes the boy being fed grapes by topless girls that he refers to as his "wife's handmaidens." There are sex scenes at double speed, rape scenes set to songs such as 'Singin' in the Rain', etc. It is stylishly violent, bitingly satirical, and nothing short of entertaining throughout its entirety.

The film raises many questions regarding the infringement of rights. Is it moral to "dehumanize" a person by ridding them of violent tendencies? Is reforming criminals, cleaning up the prisons, and making the streets safer really worth tampering with a person's free choice by forcing them to change themselves and their beliefs? Is this a right that the government has? Is what's "best for society" necessarily the best thing for the individual? These are all questions which the audience may draw their own answers. Although no such "treatment" exists today, it is easy to see that the film may not be far off from the direction society is moving toward. Alex was a despicable human being, but didn't he have the freedom to be that? However you want to look at it, A Clockwork Orange examines this, implying that free choice is essentially what makes a person who they are.

A Clockwork Orange was released in 1971, over thirty-five years ago. The amazing thing is that it is not, in any way, dated. The film has a timeless feel. It looks good for being as old as it is. It has also stood the test of time, becoming a classic in the eyes of many. This is definitely a rewarding film experience. A Clockwork Orange may be a little rough and some may consider it graphic, but the themes are relevant to every culture in any time. This is a great film that will surely endure for years to come.

10/10

Wild at Heart (1990)

A symbol of Lynch's individuality and personal freedom.

[8/10 · 13 November 2008]

Wild at Heart is probably the most conventional David Lynch film I've seen. That being said, it still remains very far from mainstream. Wild at Heart revolved around a young couple, played to perfection by Nicolas Cage and Laura Dern. Fast paced, mostly ridiculous, and pretty unrealistic, Wild at Heart is far from perfect, but a very fun film to watch.

The premise is strange, but intriguing. A young couple is separated when the guy, an Elvis fanatic named Sailor (Nicolas Cage), goes to prison for manslaughter after defending himself against a man who threatened him. When he gets out, he is desperate to get Lula (Laura Dern), the girl he loves, back again. Lula is more than willing to pick up the relationship, but if her mother has anything to do with it, she won't have a chance. Being young and in love, the girl rebels. However, her mother's desperation leads her to contact a hit-man she is in knows and the young couple is forced to run away. The two lovebirds head to California and encounter all sorts of crazy situations along the way.

Arguably the best thing about Wild at Heart is its great cast. Nicolas Cage is in his prime here and the role is, somewhat, reminiscent of the "repeat offender" he played in Raising Arizona. Nicolas Cage was great in his pre-action-hero movies. Laura Dern is equally excellent. I'd never understood the reason for her popularity in sexy roles. It's effective here, though, and she embodies sweet yet trashy Lula wonderfully. Supporting performances by Willem Defoe, Harry Dean Stanton, and Diane Ladd also provide liveliness that enhances the film.

Although it deals with such serious subjects as murder, incest, and general family dysfunction, Wild at Heart is anything but serious. The film is chocked full of amusing moments and over the top clichés. The best example of this is the presence of a rich, older crime boss with a penchant for having young – preferably naked – young girls surrounding him at all times he's present. There are a few moments when the style gets repetitive and the characters do something worthy of much eye-rolling. Despite that, this movie is never boring and fairly unpredictable.

Wild at Heart is a fun adventure to hitch a ride on. It is full of energy and snappy dialogue. Unlike most Lynch films, it is very linear and straight forward. The acting is excellent and the characters are strangely likable. Wild at Heart feels a little long and drags in a few places toward the end, but this barely hinders the film in its entirety. This is an amusing film, one that would make a good introduction to Lynch for those unfamiliar. For the rest of us, it's simply an enjoyable piece of film-making.

8/10

The War Zone (1999)

A bleak, relentless look at child abuse featuring amazing performances.

[9/10 · 9 November 2008]

Tim Roth is an excellent actor. Throughout his career, he has demonstrated a variety of personas, taking on roles that are both challenging and intense. It is apparent that, as a director, he has the same talent. Tim Roth's first and only directorial effort to date, The War Zone, is a haunting picture of family. Featuring perfect acting, intense scenes, and an overall atmospheric darkness that coincides with the main themes, The War Zone is an excellent film. It is also one of the most difficult movies I've ever had the opportunity to watch.

The film opens with Tom (played by Freddie Cunliffe), a teenage boy who is angry with his family for moving away from the city and into Middle of Nowhere, England. He misses London and he's not getting attention from his family because of his mother's (Tilda Swinton) pregnancy. Along with his mother, Tom lives with his father (Ray Winstone) and older sister, Jessie (Lara Belmont). Not long after the film begins, the mother's water breaks and the four of them make their way to the hospital. It is a dark, rainy night and, on the way, the father flips the car. Luckily, everyone is OK despite a few minor scrapes and bruises. Mum delivers the baby and the kids go home with Dad. The car accident is not mentioned again throughout the film, but it serves as a kind of foreshadowing of events to come. The normal schedule of life, interrupted by something startling, is the basis of this film.

After Mum comes home and the baby settles into the home, things seem to go back to normal with this family. One day, however, Tom sees something disturbing. He and Mum and when they get back, Tom goes around to the side of the house and sees his father and sister in a position that looks a little too close for comfort. He confronts Jessie later, but she calls him a "perv" and says he didn't see what he thought he did. Tom is determined, though, and his search for the truth leads him to discovering the most horrible of family secrets and what unfolds is an emotional reckoning that no family should ever have to face.

This is a devastating look into the degradation of a seemingly normal family and Tim Roth's direction shows that perfectly. Throughout the film, the entire atmosphere is dark and it is typically rainy. Even the beach, which is shown several times, looks like an unhappy place. The actors play each role to absolute perfection. Tilda Swinton is very good as the mother, a woman who is seemingly unaware of the terrible secret bubbling below the surface. Ray Winstone is terrifying as Dad, a father who seems very loving on the outside. On the inside, though, there is a monster waiting to attack. The two children are played by newcomers Lara Belmont and Freddie Cunliffe. Tim Roth has said in interviews that these two were selected because of their fresh faces, the fact that the audience would know them as their characters instead of actors. This is very effective. Lara Belmont is heartbreaking as Jessie, a teenage girl forced to put up certain walls. This is one of the best performances I've ever seen from an actress of that age group. Without her, this film would not be what it is. Freddie Cunliffe is excellent as Tom, the boy who discovers the truth about his family and must decide what to do with his newfound knowledge.

The War Zone is consistently bleak and is often relentless. It shows abuse for what it is: an unnecessary evil that affects the lives of everyone involved. This film is never a happy story. It is free of clichés and makes for some difficult viewing. If a person can get past that, though, The War Zone is a rewarding film experience. Tim Roth has accomplished something great here. I can't wait to see him do something else in the future.

9/10

Day of the Dead (1985)

A deep zombie flick? Well, not really deep, but it has its moments.

[9/10 · 6 November 2008]

I've always had an appreciation for a good zombie movie. Day of the Dead, the third of George A. Romero's 'Dead' trilogy, is possibly the best I've ever seen. This film is more than just a bunch of scared humans running from and getting eaten by the living dead. There's a real power struggle here – and, strangely, it has nothing to do with the dead. This is a masterful horror film. Although I didn't find it terrifying in the least, it does what it sets out to do: show the plight of a bunch of randomly congregated humans trying their best to stay alive. It provides this and so much more. Here we're given more than just a need to stay away from the zombies: we're given complete and utter desperation.

With Night of the Living Dead, George A. Romero proved that, with a small budget and lack of great special effects, it was possible to create a truly great horror film. Dawn of the Dead, my least favorite of the three, continued the story. So after the night and the dawn, it is day. The setting of most of Day of the Dead is underground, where a small group of people have created a refuge from the hungry, walking dead. They have a commander, who has just been killed. A power hungry, angry tyrant takes over, declaring himself the ruler of the small group. This guy is completely ruthless and unconcerned with the importance of survival for everyone. Sarah, a very strong woman, constantly challenges this self-made dictator, causing him to become angry with her and her friends. This includes John, a pilot who has a helicopter. There is a scientist who they call Frankenstein. Frankenstein mostly stays in his makeshift lab, experimenting on dead zombies. He has figured out a way to somewhat tame them and make them almost like pets. His "star pupil" is Bub, a very calm and intelligent zombie who plays a large role in the climax of the film. All the while, the refuge is protected by a sturdy fence. Thousands of zombies have lined up, just waiting to feed on human flesh.

Day of the Dead is probably the least gory zombie movie I've seen. There is a little bit of blood and zombie guts in the beginning, but the majority of the first half is fairly tame. Even the end – which consists of a bit of a showdown – is tame compared to most films like it. The majority of this film doesn't even revolve directly around the zombies. We're shown quite a bit of characterization of the group of people and we watch the power struggle between them. This shows how crisis can result in the complete breakdown of society and democracy. This provides more intrigue than the creatures themselves.

The acting in low budget zombie movies has never been the strongest. The case is the same here, though the actors hold their own much more than in 'Night' and 'Dawn.' Here we're given some very diverse characters, though, which makes for some good variety. However, my favorite character in Day of the Dead was probably Bub, the nonviolent, somewhat intelligent zombie. This is a great, important character in the film. It shows another side of the zombies – maybe they're not all evil? Maybe they really can be conditioned to behave? Whatever the case may be, Bub has joined the ranks as one of my favorite horror characters.

Zombie movies typically aren't for everyone. This may be an exception, though. Until the end, there's no real gross-out, exploitation of guts scenes. This is truly a film about the human self and how differently people react to crisis. The crisis here, of course, is zombie takeover. It is entertaining throughout, decently acted, and well executed. Day of the Dead is my favorite Romero film so far, and probably one of my favorite horror films of all time.

9/10

Zack and Miri Make a Porno (2008)

Inspired romantic comedy. One of Smith's best.

[8/10 · 2 November 2008]

Zack and Miri Make a Porno is very predictable. This is not necessarily a negative attribute, especially here. In this case, the predictability works. It offers nothing new or groundbreaking as far as romantic comedies or sex comedies go, but the thing that sets Zack and Miri apart from other films of its genre is the fact that, unlike so many comedies today, it is genuinely funny. Kevin Smith has matured as a filmmaker over the years. This film is likely his most sophisticated effort to date and it's easily one of my favorites from him, second only to Clerks. The dialogue, something Smith has never had a problem with, is top notch. The cast, especially leads Seth Rogen and Elizabeth Banks, are all great in their roles. Zack and Miri Make a Porno is not without problems, but it is, overall, an excellent comedy that rarely misses the mark.

The premise is pretty much spelled out in the title. Zack and Miri, best friends since high school, are struggling financially. They have a stack of unpaid bills and no way to earn enough money to pay them. At their ten year high school reunion, Zack and Miri meet Brandon, the boyfriend of another guy they went to school with. Brandon is an actor in gay porn and seems to have made a nice living from it. When their power goes out, Zack suggests to Miri that they "make a porno." It takes some convincing, but Miri eventually agrees and the two set out to make some money. The production of the porno is not without problems, and these scenes offer some straight comedy. Zack and Miri are finally faced with the task of sleeping with each other, and although they promised it wouldn't change things, it does.

Kevin Smith has always been a great writer. With Clerks, the production quality and obvious inexperience of the actors could be overlooked because the script was just that good. Zack and Miri Make a Porno is no different. After a few lesser-efforts like Jersey Girl and Clerks 2, he's back in top form. The film is just as filthy as one can come to expect from Smith, but it also features some great characters. Zack and Miri are just what you'd expect any pair of young, platonic friends to be like. Zack is fairly immature; Miri has more of a head on her shoulders. Both are very flawed, but these two are very relatable, lovable characters. The other characters are less well-written, but mostly good. The only complaint I have is the subplot of Craig Robinson's character and his wife. The black jokes just went a little far, and after awhile, became tedious. Jason Mewes, a Smith regular, is good here as Lester, as is Katie Morgan, an actual porn star, as ditsy lap dancer Stacey. Jeff Anderson also costars, one of his scenes being the one that sent my particular theater in an uproar of laughter.

There have been complaints of seeing too much of Seth Rogen these days. I, for one, have yet to be disappointed by the guy. I guess a big reason that I like him is due to the fact that he looks like and talks like any normal guy you'd find on the street. He's not prince charming or Brad Pitt: this guy is slightly overweight, has messy curly hair, but he's still very watchable and is, at times, endearing. He plays Zack to perfection, combining the perfect mix of comedy and romantic realism. Elizabeth Banks is always delightful. She's a beautiful girl, but, once again, has that quality that makes you feel like you could know her. She is perfect as Miri. Supporting performances are equally good.

Zack and Miri Make a Porno is not for everyone. That being said, there is a lot of vulgarity here, but the film is not devoid of a heart. Beneath the dirty sex jokes and over-the-top porn scenes, Zack and Miri Make a Porno is essentially a love story about two people who have known each other their entire lives and are just realizing their feelings for one another. As I said before, don't expect a twist ending. The film never becomes boring, though, and is about the perfect length. Kevin Smith has gotten a lot of flack for turning out uninspired films as of late. Hopefully this will put those voices to rest. 8/10

Network (1976)

A latter day prophecy.

[9/10 · 21 October 2008]

Network is one of those films that sticks with the viewer long after the credits roll. It is immensely entertaining and easily one of the best black comedies I've seen in a long time. Network exaggerates a lot, but is sadly a testament to most television networks in that most of them do anything for better ratings. Find out what the people like and give them what they want. With an impressive and talented cast and a capable director, Network is a solid, well written film with few problems and a lot of satire.

From the first few scenes, I thought Network would be one of those preposterous, unbelievable movies that would have me rolling my eyes at the idea of it being considered a classic. I was wrong. The film does very well in its purpose of showing the lunacy that goes on behind the scenes of television. We have a news anchor who goes crazy and, when ratings skyrocket, his well-being is the last thing that anyone is worried about. The characters here all seem to get caught up in making this fictitious television network the hottest thing on the tube. It is exaggerated, yes, but it makes a firm point and does so in a satirical manner that leaves the viewer satiated.

Probably the best thing about Network is the wonderful, wonderful dialogue. Every word is sharp and it contains some of the most quotable lines in the history of cinema. Most notably, the famous, "I'm as mad as hell and I'm not going to take this anymore!" delivered rather brilliantly by the late Peter Finch (who, deservedly, won a posthumous Oscar for the role). The rest of the cast is equally brilliant, especially the always-delightful Faye Dunaway, who plays a woman obsessed with getting to the top. William Holden, Robert Duvall, and Ned Beatty are all solid in their roles as well.

There's never a dull moment here and, although the ending was a bit extreme, the film makes its point in a way that is both amusing and thought-provoking. Even though it's over thirty years old, Network is still relevant to today and, aside from the lack of cellular phones and personal computers, is not in the least bit dated. I have a feeling it'll also become one of those films that becomes more rewarding with each additional viewing. Here's a DVD I can't wait to add to my collection.

9/10

Michael Clayton (2007)

Uneven thriller with few highlights.

[5/10 · 16 October 2008]

Michael Clayton was, overall, a pretty big disappointment to me. It starts off relatively strong with some very interesting exposition. However, by the middle, it became a bit muddled and off course. Instead of relying on characterization, which it could have easily done, the film focuses on twists that have been seen before and an under use of some serious acting talent.

Without giving too much away, I'll say that this more a story of ethics than other typical lawyer movies. In this respect, Michael Clayton offers a fresh perspective. That's about as far as the creative aspects go. George Clooney plays a forty-five year old "miracle worker" lawyer named Michael Clayton. Michael is a lawyer known for cleaning up messes. He even refers to himself and others as "janitors" rather than lawyers. At the beginning, Michael is bailing his colleague, Arthur, out of jail for indecent exposure. Arthur, once a renowned lawyer, has become guilt stricken and obsessed with a case and one of its plaintiffs. The case involves the death and poisoning of a substantial amount of people due to a weed killer. The lawsuit is against an agricultural company, U North, whose legal counsel is the brilliant Karen Crowder (Tilda Swinton). Things go awry quickly and the struggle for power and money seem to head up the actions of these underdeveloped characters.

The main problem I had with this film was the fact that it tried way too hard to shove in several subplots that the film could have easily done without. These side stories weakened the film and, without them, the intensity of the plot could have easily been increased. Michael Clayton was a cool guy, but the scenes involving his son and brother were completely unnecessary. One could argue that these scenes characterized Michael, but I'd disagree. The scenes, especially the ones with his son, were of no real use to the film.

As far as acting goes, the cast here is top notch. Clooney turned in, arguably, the least stunning performance. Michael Clayton failed to make an impression on me as a character until the last few minutes of the film. I'm not saying that George Clooney was bad, but nothing about his portrayal made the character memorable or interesting. He redeems himself slightly in the last few scenes, showing more emotion there than throughout the whole thing. Tilda Swinton is a great actress and did well with the material she was given. The problem was that the material she was given is very limited. The film could have done something great with her character, but instead just left it kind of in the air. We see her practicing a speech before she gives it, showing a more vulnerable, less confident side than she actually shows when speaking in public. But the characterization ends there, leaving the viewer with no one to really care about or be interested in. I'm of the opinion that the best performance of the film was that of Tom Wilkinson as the guilt-ridden Arthur. Wilkinson manages to steal every scene he's a part of. It's a shame that he did not receive more screen time.

Perhaps I built it up too much, given the good reviews and Oscar nominations, but I fail to see how Michael Clayton is anything more than a typical legal film that tries too hard to be an edgy thriller. It's watchable, but rather mediocre and dull. Aside from some decent supporting performances and a pretty decent ending, Michael Clayton is nothing to get excited about.

6/10

Blue Velvet (1986)

It's a strange world..

[10/10 · 7 October 2008]

I have a lot of respect for David Lynch. The man gets a lot of flack for being "too weird," but I don't know when that became a derogatory comment. Weird, in the film industry, often translates to originality. Blue Velvet is not at all lacking in originality. This isn't your typical mystery-thriller. In fact, its genre is a bit hard to define. It has moments of dramatic intensity, as well as scenes that contain biting humorous undertones. It's safe to say this was controversial in the 80s, as it still holds a bit of shock factor in retrospect. Blue Velvet is an accomplishment of a lifetime. Mulholland Drive and Eraserhead are often referred to as Lynch's masterpieces, but to me, Blue Velvet defines Lynch's career.

In one of the best openings I've ever seen, Blue Velvet begins by showing us a typical suburban neighborhood: white picket fences, beautiful gardens, nice houses. Immediately following, we're shown what's below the surface: the ground is being overtaken by bugs that resemble cockroaches. This simple scene foreshadows the rest of the film. What we're shown here is a simple little town, seemingly happy on the outside. However, when you probe below the surface of anything good, you may find something you didn't expect.

After his father collapses with what I assume was a heart attack, Jeffrey Beaumont (Kyle MacLachlan) returns to Lumberton from college. Jeffrey is your typical young man: he's a nice kid, fairly naïve. As he walks through an empty field, he finds something strange. On the ground, he discovers a severed human ear. He brings it into a detective he is familiar with. The detective is the father of Sandy (Laura Dern), a high school senior who Jeffrey knew from school. The two of them are curious about the ear. After overhearing her father's discussion with a coworker, Sandy informs Jeffrey that the investigation led them to a woman named Dorothy Vallens (Isabella Rossellini). Jeffrey and Sandy search further and eventually find out where Dorothy's apartment is located. Sandy is unsure, but Jeffrey is determined to crack the case. At his insistence, Sandy helps Jeffrey devise a plan to break into Dorothy's apartment. What they didn't expect was for Jeffrey to find himself locked in Dorothy's closet in a scene that has been given countless homage. This is where Jeffrey uncovers more information: Dorothy is being controlled, mentally and sexually, by a sadistic man named Frank Booth (Dennis Hopper), who has kidnapped her husband and child.

Dennis Hopper's entrance into Blue Velvet is intense and his character is among the most terrifying in film history. This is where the entire mood of the film changes. No longer is this a simple detective story about two kids trying to crack a case. As Jeffrey watches Frank's power over Dorothy, he becomes sucked in. Eventually, he becomes personally involved with the two. Insanity ensues. As Jeffrey's world view changes, his actions become more and more like Frank's. This transformation is well conceived and believable.

As far as acting is concerned, Blue Velvet contains some top notch performances, mostly by actors who never really got their due. Kyle MacLachlan is perfect as Jeffrey. He has that golden boy look that makes his innocent naivety believable, but he's not too square that his transformation is not believable. I truly believe that Kyle was gypped out of a great career. With this, Twin Peaks, and The Hidden, the man should have ended up with better. Either way, this is a career defining performance, one that any actor should be proud of. Isabella Rossellini is just as good. It's truly impossible to not feel anything for this character: a woman whose life is truly out of her hands. The movie wouldn't have been what it was without Dennis Hopper, whose perfect portrayal of Frank Booth is like evil personified. He's wonderful in this role: truly someone to be afraid of, but with some lines that are strangely amusing. Laura Dern is very believable as innocent, young Sandy. She adds a little something to the film, showing the contrast between true innocence and depravity.

Another thing I love about Blue Velvet is, as I mentioned before, the genre bending. Although I'd call this a drama above all, it is impossible to ignore the comedy. Among the funniest scene is near the beginning, when Jeffrey brings the ear to the detective, at which point the detective proclaims, "Yep, that's a human ear all right." Equally funny is the background radio announcer, "Logs, logs, logs. It's 1:30 as the tree falls here in Lumberton." David Lynch's strange sense of humor is another reason why this film is what it is. There are elements of a thriller. Frank is a terrifying character; he's a person whose actions are impossible to predict. The majority of the violence occurs off screen, but this does not make it any less intense. Blue Velvet also, strangely, has elements of romance. It is, like most Lynch films, impossible to place into one distinct category.

I have few problems with this film. The only thing I can really complain about is the fact that it moved pretty fast, sometimes not allowing for enough characterization before certain events transpire. With a running length of around two hours, Blue Velvet feels a little short. I've read that the original cut was nearly four hours, so it's very likely that a lot was lost in the editing process. I have to wonder if it would have been even more amazing if Lynch had left it in its full, four hour form.

Even with it's few problems, Blue Velvet is an astonishingly beautiful, completely coherent film. Nearly perfect film-making, it is chilling, funny, and bittersweet at the end. Blue Velvet is an enduring film, and one of my personal favorites.

10/10, my #7 of all time

Imitation of Life (1959)

Imitation of Melodrama

[6/10 · 2 October 2008]

IMITATION OF LIFE (1959): Imitation of Life starts off very strongly – a white woman and her young daughter meet a black woman and her daughter, who is very light skinned, randomly at the beach. Both single mothers are struggling. The black woman, Annie, moves into the white woman, Lora's, apartment and begins to act as a maid. Lora is an aspiring actress/model who is trying to find jobs, but is not succeeding. The film begins by showing the racial differences, especially in how African-Americans were treated. Annie's little girl, Sarah Jane, could easily pass for white, and tries to at school. She instinctually knows that she will be singled out as a black girl, whereas she would easily fit in if she were white. The film shows the relationship between mother and daughter very well, as Sarah Jane's opinion of her mother lessens as she is faced with the pressures of the outside world. On the other hand, Lora is very protective of her daughter Susie. She demands to know what happened when Susie obtains even the smallest injury.

The film moves into its halfway point on an equally strong note. Lora is noticed by some Broadway execs, but comes to realize that the life of a big star is anything but glamorous. She gets her big break, though, and this is where the film loses sight. We end up focusing on Lora's various romances, one of which is very important in the film later on. However, these romance scenes are very weak and unnecessary. The movie could have easily lost ten minutes of its two hour running time by cutting out some scenes entirely.

By the end, Imitation of Life has taken a dive straight into sappy melodrama. It's sad, too, because it started off very strongly. The one thing the remained consistent was the undertones of racial issues. The relationships between Annie and Sarah Jane are far more interesting and disheartening than the problems that Lora and Susie incur.

As far as acting is concerned, it's pretty decent, though I wasn't terribly impressed by Lana Turner. There are scenes where it's obvious that she's acting and it was a bit distracting. Other than that, no complaints on the acting front.

Overall, I guess I enjoyed it. However, the end is messy, predictable, and too sappy for its own good. Worth watching if one is a fan of chick flicks or character relationships, which is this one's foundation.

6/10

The Apartment (1960)

Cookie wise.. this is a triple chocolate chip.

[10/10 · 26 July 2008]

The Apartment (1960) | Directed by: Billy Wilder | Starring: Jack Lemmon, Shirley MacLaine, Fred MacMurray | Score: 10/10 A

Until recently, I had declared most classic films, with the exception of a few, to be overrated. The Apartment is the film that reopened my eyes to the glory that classic films can bring. Not only was the story and dialog excellent, the film is timeless: I could easily see someone remaking this soon, and not much would have to be changed. Sure, they'd be using computers instead of typewriters and cell phones instead of pay phones, but human nature remains the same today as it did in the sixties.

The story is pretty simple: a man named C.C. Baxter (played by the always great Jack Lemmon) is desperately seeking a promotion in his job. His job consumes him, probably because he has nothing else to fill his life with. Baxter lives alone in a rather nice apartment. He has no life, no wife, and, on most nights, not even a bed to sleep in. This is because, in order to climb the corporate ladder, Baxter has agreed to let his various bosses use his apartment as a place to take their mistresses. Baxter is about to call it quits, when the big boss calls him in for a favor. He agrees to promote Baxter if gives him the use of his apartment. Meanwhile, Baxter is continually flirting with the elevator girl (a good performance by a young Shirley MacLaine), who does not return his affection. When he finds out that his boss's mistress IS the elevator girl, drama ensues. The question is whether or not she will see past the man who will never leave his wife and see Baxter for the guy that he is.

It's a simple drama with a lot of clever dialog. The characters are very real. You can almost feel for Jack Lemmon and Shirley MacLaine's characters; you can almost hate Fred MacMurray. It's easy to get tied into these people's lives. The film runs over two hours, but it does not seem long or tedious. Every performance is on key and everything is believable. It's not all serious, though. There are many comedic moments in the film. Word play is important and situations take on a humorous tone due to the clever Shirley MacClaine and the good natured Jack Lemmon.

The Apartment is a gem of a movie if I've ever seen one. It's yet another reason to declare Billy Wilder a genius of a filmmaker. Even to those who do not appreciate the classics: try this one. You won't regret it. And if you do.. well, that's the way it crumbles, cookie wise.

10/10 A, Eleven Dollars Reviews 2008

Pumpkin (2002)

Cute little dramedy, but a little overdone.

[5/10 · 23 March 2005]

Synopsis: Carolyn McDuffy, a college student involved in a sorority, has a perfect life. She has a great boyfriend, good friends, and she believes that everything is beautiful and perfect. Her mother believes that life is easy, that you can exist in a world where there are no problems, and that everything should come easy. The two together are a perfect example blind leading the blind.

Carolyn's sorority, in order to win sorority of the year, begins to participate in the Challenged Games. Each girl is assigned to someone who is mentally slow. They are to work with them and help them to get ready for the games. Carolyn is somewhat indifferent about the idea. She doesn't think that it's right or that their sorority should be participating in it. She finds it risky.

This is before Carolyn meets Pumpkin. Pumpkin is Carolyn's assigned person. At first, she finds it horrible to work with him. She doesn't know where to begin, she's confused, she doesn't understand what he tries to tell her. After Pumpkin talks to Carolyn a little bit, she begins to realize that he has a beautiful heart. She begins spending time with Pumpkin, despite what her sorority sisters, boyfriend, and family say about it.

Carolyn soon becomes confused about her feelings. She begins getting romantic feelings for Pumpkin and she doesn't know what to do. Everything begins to go downhill when her sorority and boyfriend learn this. Carolyn begins to examine her outlook on life and wonder if she was really living to begin with.

Review: Being a big Christina Ricci fan, I was eager to see Pumpkin. I loved the plot, the cast was good, and it seemed the perfect movie to rent, so I did. Perfect? No, not quite. However, it does deserve a second glance.

One thing I found really great about Pumpkin is that it's a movie that you can easily relate to. Everyday we're faced with people who don't approve of the choices that we make. Words can hurt, and they do. This film illustrates that perfectly. Christina Ricci's character, Carolyn, is a popular girl with a seemingly perfect life, but no one's life is perfect. We learn that from this film. While it doesn't go deep into the soul of the character as it could have, we see her problems, her enemies, what makes her tick.

Christina Ricci plays her part perfectly. She's become a very versatile actress since she grew up, and I completely respect her for that. Hank Harris is also very good in his role as Pumpkin. We see the character development throughout the film. It may be a little rushed, but it is completely believable and played very well. At times during the film, you forget you're seeing actors. The whole film is very true to life.

However, some of the film is a little overly-dramatic. Suspenseful music plays several times in the film in places that I don't feel require it. It leads you to believe that something big is going to happen or that you are going to be surprised, but it doesn't and you're not. It's not that type of movie. Another somewhat large occurrence in the film I find unnecessary and a little off in the film involving Carolyn's boyfriend. Some of the girls in Carolyn's enemy sorority are exceedingly more rude than you would expect. While I can see some tension, I don't think it would be that confrontational. A few other scenes aren't crucial to the plot. I also believe that the "F" word was completely misplaced in many instances. While it's not excessive, most of the time the word is overly emphasized and just doesn't need to be there.

There is enough good in the film to make up for those, though. The whole idea of the movie is wonderful; it has heart. At one point in the film, Carolyn begins realizing that she wasn't seeing the world accurately and begins seeing things that are not beautiful. The film peaks there. It's a wonderful moment and you can really feel what she is thinking and understand her.

The film is good and I would definitely considering buying it if I see it for sale. It's not great or perfect, but it's enough and you can see what it was meant to be. Though not a masterpiece or anything original, it'll still win you over eventually.

B- (7/10)

Closer (I) (2004)

Four people become entangled.

[6/10 · 23 March 2005]

Synopsis: Dan (Jude Law) meets Alice (Natalie Portman) after she is hit by a cab. She's just moved to London from NYC. He takes her to the hospital, where they chat and become friends. He writes obituaries; she's a stripper.

A year later, Dan and Alice are living together. He's finished a novel and falls for the photographer that takes the picture for his book jacket, Anna (Julia Roberts). He introduces Anna to Larry (Clive Owen) and the four people become sexually entangled over the next few years.

Review: Closer is a respectable effort. The film had a lot of potential, but failed in so many ways. Closer can be seen as the anti-date movie. It's hard to like the characters, and even harder to like their actions. Even so, it paints a picture so close to reality.

A controversy revolving Closer was the sexual content. While sex never occurs on screen, it's a prominent topic and is actually the plot (if there is one) to the film. The only nudity is seen at the strip club, but the dialogue is almost repulsive. Most is not needed, or could have been better if it was only implied. A scene in the strip club with Alice and Larry is probably the height of the vulgarness.

Julia Roberts and Jude Law turn in good performances, but are easily out acted by Natalie Portman, who proves to be an adult, and Clive Owen, who shows incredible emotion with his sleazy character.

Closer is the perfect example of love at first sight. The tag line for the film states: "If you believe in love at first sight, you never stop looking." That's essentially the core of the movie. Were these people truly in love? If they were, why would they be so unfaithful to their "true love"? Is appearance and first impressions an important factor in determining who we're going to spend our life with?

Each character in Closer has their share of lies. Lying to their current lover, lying to themselves. It effectively shows that men will do anything to get what they want, and how quickly the women will fall for it. I'm not saying that the female characters are any less guilty in immorality or whatever you'd call it, but they seemed to be the more naive of the four.

Closer contains a great deal of good, but in all, it doesn't add up to a complete motion picture. The sexual content could have been reduced, thus unneeded in many instances. A very depressing film, but thought provoking nevertheless. Good performances abound, but do not make up for holes that could have easily turned this average film into a more compelling motion picture. Viewer discretion advised: Closer is not for everyone.

C (6/10)

Crazy/Beautiful (2001)

An emotionally troubled young woman falls in love.

[4/10 · 14 May 2004]

Kirsten Dunst stars in this weak teen drama as Nicole, a young woman with a troubling relationship with her father and stepmother. Nicole meets Carlos (Jay Hernandez), a serious student. After they start spending time together, Carlos somewhat loses sight of his priorities. He stops hanging around his friends, his grades drop, and he wants more independence from his mother. Nicole has some problems. She drinks, parties, and does drugs, but soon Carlos begins to see that he's falling in love with Nicole. In order to get in good with her father, an important businessman, he has to stop hanging around her. Now he has to decide what to do.

The movie is so-so. The characters don't develop enough before developing a relationship. Nicole's character could be portrayed has more trouble, which would make the movie more believable. I also doubt Carlos would give up his life so quickly to a girl he'd just met, that he knew had some problems. The movie could be so much better, but it was filmed beautifully and the actors did fine with what they were given. I wouldn't recommend it to everyone, but a lot of people would like it.

4/10