King of the no-wave cinema Amos Poe's 'Alphabet City' has cool style, and super cool main character, Johnny (awesome performance by Vincent Spano). Screenplay is not very sophisticated and story is quite straightforward, but weak script is compensated by cool direction and awesome soundtrack composed by Nile Rodgers.
Reviews
12 Reviews
Alphabet City
(1984)
At 19, they gave him the streets. Tonight, they're going to take them back.
20 February 2019
Epidemic
(1987)
Roll camera, ready, action!
14 February 2019
'Epidemic' is a movie that might feel like intriguing premise wasted on some pretentious art-house gimmick. On the other hand, it is very intriguing story shot in very intriguing style. The film contains three parallel stories - two screenwriters Lars and Niels struggling with their screenplay, at the same time devastating plague starts to kill people all over the Europe, and then the events happening to the characters that our writers are creating at the moment.
Wonderful experimental film about making a film.
Wonderful experimental film about making a film.
Wild at Heart
(1990)
Did I ever tell ya that this here jacket represents a symbol of my individuality, and my belief in personal freedom?
13 February 2019
'Wild at Heart' is worth to see only for Nicolas Cage wearing a snakeskin jacket and dancing to heavy metal, or for Harry Dean Stanton making animal noises while watching nature program on TV, or for Laura Dern's character's twisted tales about her childhood, or for Willem Dafoe's slimy and perverted Bobby Peru, or for Isabella Rossellini's eyebrow, or for Diane Ladd's crazy outbursts.
'Wild at Heart' is probably David Lynch's most 'normal' film when it comes to conventional filmmaking, but it is wild and weird enough that it didn't appeal to mainstream audience, and it never will. But if you are a kind a person to get your thrill from quirky love stories that happen in a very dreamlike world, then it is good to give it a shot.
'Wild at Heart' is probably David Lynch's most 'normal' film when it comes to conventional filmmaking, but it is wild and weird enough that it didn't appeal to mainstream audience, and it never will. But if you are a kind a person to get your thrill from quirky love stories that happen in a very dreamlike world, then it is good to give it a shot.
Olympus Has Fallen
(2013)
Yes, Mr. President!
13 February 2019
'Olympus Has Fallen' is not very sophisticated action movie, the screenplay is filled with cliches, the story is trivial, and altogether the film offers no surprises. But still, Antoine Fuqua's directing style and Gerard Butler's charismatic agent Mike Banning, who throws one-liner after another in the midst of high octane action, explosions and thrilling cat and mouse play, are able to turn 'Olympus Has Fallen' into quite enjoyable action ride. Butler is supported by great ensemble of actors who are doing great job. Likeable hero has gotten himself quite nasty opposite in Rick Yune's Kang, who is intelligent and cruel.Thanks to the political situation and the wonderful TV-series 'House of Cards' it is very hard to take Aaron Eckhart's everyman President Asher seriously.
Idiocracy
(2006)
This Film Was Funnier Ten Years Ago
10 February 2019
'Idiocracy' was released as absurdist comedy in 2006, but in 2019 this film has obtained almost horror film qualities, and looking how the society is developing at this point, the film's portrayal of the future might be quite accurate. Especially when you are thinking about those young people fresh out of college turning in their CVs with grammar and spelling mistakes.
The film moves on with high pace and it doesn't leave much room to subtleties, but the in your face humor is perfectly balanced, and not for the second it doesn't feel cheap. Luke Wilson carries the film perfectly as average Joe (his name, Joe, was nice wordplay itself) thrown into unfamiliar surroundings where he discovers that he might be the smartest man in the world.
The horrific thing is that the world depicted in the movie probably isn't 500 years away, but rather a 100.
The film moves on with high pace and it doesn't leave much room to subtleties, but the in your face humor is perfectly balanced, and not for the second it doesn't feel cheap. Luke Wilson carries the film perfectly as average Joe (his name, Joe, was nice wordplay itself) thrown into unfamiliar surroundings where he discovers that he might be the smartest man in the world.
The horrific thing is that the world depicted in the movie probably isn't 500 years away, but rather a 100.
Subway Riders
(1981)
You know me, high on crime and feeling groovy.
10 February 2019
Night streets. Saxophone player is letting the sounds from his horn fill the empty streets, and there's a killer on the loose. Hard boiled cop on the edge trying to solve the horrendous crimes, while his marriage falls apart. Neighbors who are annoyed by the sax players midnight's improvisations.
'Subway Riders' is crime thriller directed by one of the No Wave Cinema pioneers Amos Poe. Interesting is that No Wave Cinema emphasized the mood more, than style and storytelling, but 'Subway Riders' is all about style. And the story itself is quite interesting, although incoherently told. Darkly lit (or even without any lighting at all) scenes that are mostly under- or overacted, tilted camera angels, unnecessary jump cuts, seemingly pointless scenes between minor side characters mixed with long scenes of someone driving a car, or drinking a coffee. But all this mess is put together so well, that it turns 'Subway Riders' into entertaining piece of art that mixes loneliness, sadness and madness with sax sounds, and gory crimes.
If you have to watch a moody experimental film on rainy night, then let it be 'Subway Riders'. But don't expect your regular '70's/'80s slasher thriller. This one stands much higher.
'Subway Riders' is crime thriller directed by one of the No Wave Cinema pioneers Amos Poe. Interesting is that No Wave Cinema emphasized the mood more, than style and storytelling, but 'Subway Riders' is all about style. And the story itself is quite interesting, although incoherently told. Darkly lit (or even without any lighting at all) scenes that are mostly under- or overacted, tilted camera angels, unnecessary jump cuts, seemingly pointless scenes between minor side characters mixed with long scenes of someone driving a car, or drinking a coffee. But all this mess is put together so well, that it turns 'Subway Riders' into entertaining piece of art that mixes loneliness, sadness and madness with sax sounds, and gory crimes.
If you have to watch a moody experimental film on rainy night, then let it be 'Subway Riders'. But don't expect your regular '70's/'80s slasher thriller. This one stands much higher.
Shit Year
(2010)
Years of Retirement
8 February 2019
This film might be too experimental and fragmented for its own good, but it is enlivened by fantastic performance by Ellen Barkin as Colleen West, an retired actress trying to find her place in the world she is not familiar with. The film doesn't follow traditional narrative and scenes jump from present to past, and between dreaming, dreams and nightmares (there is one haunting scene near the end the puts most contemporary horror films into shame). Yet, this fragmented flow of the film doesn't take anything away from Ellen Barkin's wonderful character. Actually it all enhances her confusion - did she already loose everything (herself among) while she was working as an actress or, everything went loss after her retirement? It is my own personal interpretation, that she was already lost, but when she quit the circus she just started to see the things. Although, experimental with its directing style and it sounds pretentious self search/loss story, the film stands much higher than your usual artsy film school stuff that deals with existencial crisis. The heightened meaning behind this might come from Barkin's performance and her own life experience. Don't be afraid that film, although black and white, might be too depressive or bleak, as it offers some nice laughs. Especially scenes between Colleen West and her new neighbor Shelly (Melora Walters). Barkin's character is wonderfully arrogant and self conscious, but not unpleasant, actually she is very cool.
Definitely not for everyone, but this movie has definitely hasn't got the recognition it truly deserves.
Definitely not for everyone, but this movie has definitely hasn't got the recognition it truly deserves.
Permanent Vacation
(1980)
If I were you, I'd take a permanent vacation
3 February 2019
Leave it to Jim Jarmusch to create haunting and elusive visual stories with static camera and sparse dialogue. 'Permanent Vacation' is no masterpiece and stands far from Jarmusch's greatest movies, but it clearly has the magic touch that makes the film live, and it doesn't feel boring.
Jim Jarmusch made the film right after he dropped out of film school, and it is clear that he already had his unique vision and way of telling stories. The story follows slacker Allie (Chris Parker) on his quest to find the meaning of life. The film is seemingly plotless, without proper beginning and ending, not to mention the conclusion, but it has nice flow that ties all the quirky characters and pretentious philosophical conversations into whole.
'Permanent Vacation' is very important to see if you are interested where Jim Jarmusch come from (and also Richard Linklater as 'Permanent Vacation' was major influence to his own 'Slacker').
Jim Jarmusch made the film right after he dropped out of film school, and it is clear that he already had his unique vision and way of telling stories. The story follows slacker Allie (Chris Parker) on his quest to find the meaning of life. The film is seemingly plotless, without proper beginning and ending, not to mention the conclusion, but it has nice flow that ties all the quirky characters and pretentious philosophical conversations into whole.
'Permanent Vacation' is very important to see if you are interested where Jim Jarmusch come from (and also Richard Linklater as 'Permanent Vacation' was major influence to his own 'Slacker').
Limitless
(I) (2011)
Only the Quantity of NZT is the Limit.
31 January 2019
I first saw 'Limitless' in 2011 when it had its original run in cinemas. So, watching that film now, it somehow feels so 2010. Stylistically, I mean. There is some certain style or atmosphere in science fiction and action movies made between 2007-2012 that I can only call 2010ish. Don't ask me why I get such a feeling.
'Limitless' had quite original premise upon its release, and the thing is it still feels fresh. I guess I haven't seen a movie handling similar subject matter. The things that bothered me almost nine years ago are the same ones that bother me today. Some more, some less. First, lets start with that 'we only use limited part of our brain'. The character Vernon (Johnny Whitworth) says that we can access 20% of our brain, while the well known urban myth is about 10%. As we find out, the Vernon is not the brightest guy, it is obvious that this myth was thrown in by the screenwriters to give an easy explanation to the audience (from whom large part are not very bright themselves), and also show the shallowness of the character. The second problem was the unnecessary addition of the Russian mobster to just to amp up the thrills and have some cliche edge-on-your seat action scene. The screenplay could have been little more thought out. I think I don't need to praise Bradley Cooper's ability to turn in fantastic performance as out of luck writer turned into supergenius.
Neils Burger's lavish visual style manages to turn very uneven screenplay into highly entertaining, and even thought provoking film that manage to work on many levels. I liked how the colors turned brighter when Eddie Morra was on NZT, and went back to greyer tones when he was 'himself'.
This film also works somewhat as a motivational video - don't tell me you didn't get the desire to clean up your apartment after finishing the movie. I did. And remember, NZT does exist. It is all in our heads. And cleaning up your apartment is good way to start turning your life better.
'Limitless' had quite original premise upon its release, and the thing is it still feels fresh. I guess I haven't seen a movie handling similar subject matter. The things that bothered me almost nine years ago are the same ones that bother me today. Some more, some less. First, lets start with that 'we only use limited part of our brain'. The character Vernon (Johnny Whitworth) says that we can access 20% of our brain, while the well known urban myth is about 10%. As we find out, the Vernon is not the brightest guy, it is obvious that this myth was thrown in by the screenwriters to give an easy explanation to the audience (from whom large part are not very bright themselves), and also show the shallowness of the character. The second problem was the unnecessary addition of the Russian mobster to just to amp up the thrills and have some cliche edge-on-your seat action scene. The screenplay could have been little more thought out. I think I don't need to praise Bradley Cooper's ability to turn in fantastic performance as out of luck writer turned into supergenius.
Neils Burger's lavish visual style manages to turn very uneven screenplay into highly entertaining, and even thought provoking film that manage to work on many levels. I liked how the colors turned brighter when Eddie Morra was on NZT, and went back to greyer tones when he was 'himself'.
This film also works somewhat as a motivational video - don't tell me you didn't get the desire to clean up your apartment after finishing the movie. I did. And remember, NZT does exist. It is all in our heads. And cleaning up your apartment is good way to start turning your life better.
Southpaw
(2015)
There Is Always Hope
30 January 2019
'Southpaw', although it doesn't bring anything new on the table in the boxing movie genre, is still one of the best boxing film outside the 'Rocky' saga and beside 'Raging Bull'. Jake Gyllenhaal is pure force majeure in this one and he is supported by Forest Whitaker's dedicated performance. Oona Laurence was wonderful as Billy Hope's daughter Leila. Although Rachel McAdams's screen time was quite brief (considering 2 hour running time) she still managed to leave impact. And all these dedicated performances turned 'Southpaw' very vivid emotional roller coaster ride. But don't think that without these great acting jobs this movie would have been just another cliche ridden bore. Although Jake Gyllenhaal's Billy Hope was most memorable part, Kurt Sutter's screenplay packs enough punch, and the author really knew (perhaps not on Stallone level with his Rocky movies) how to use these cliches the way they work.
Pretty straightforward and simple story, but Antoine Fuqua's directing style and superb acting make 'Southpaw' must see for every boxing movie fan, and like 'Rocky' movies, this one also holds re-watching value, even though the training montages aren't nearly as cool.
Pretty straightforward and simple story, but Antoine Fuqua's directing style and superb acting make 'Southpaw' must see for every boxing movie fan, and like 'Rocky' movies, this one also holds re-watching value, even though the training montages aren't nearly as cool.
Logan Lucky
(2017)
We Need Great Scripts, Not Huge Explosions.
26 January 2019
'Logan Lucky' is a charming heist movie that never tries to be nothing more than it is, but it is much more than it seems. It is still mystery to me that why this film wasn't more popular upon its release (although it didn't quite bomb, but it wasn't some huge box-office success either) or, why it haven't gain wider recognition later. 'Logan Lucky' lacks the glamour or technology from Soderbergh's own 'Ocean trilogy' or, some other high octane heist movies. The smart screenplay brings high octane heist into much simpler territories, with couple of simple (but not simple minded or stupid) guys pulling off the robbery of the racetrack. The whole ensemble cast pulls off wonderful characters that are all likeable into some degree, and it is very easy to feel for them. Screenplay is smartly written and twisty enough, and although it demands some suspense of disbelief, one can't argue that is is one of the well written heist movies in history of filmmaking. Add Steven Soderbergh's non-flashy, but detail oriented directing style, and you get highly entertaining, but quite subtle comedy. The one that is very rare in the days of CGI superheroes and huge explosions.
Bringing Out the Dead
(1999)
Saving a Life is the ultimate rush
26 January 2019
'Bringing Out the Dead' is probably one of the most underrated Martin Scorsese movie throughout his illustrious career. The film is wonderfully slow, but perfectly paced. Although quiet on the surface there is intense fire burning beneath which gives no mercy to the viewer - it takes the last hope that the ones who must protect us, the ones we need, are actually in much worse situation, in much bigger hell. And the most horrifying thing is, that this movie doesn't exaggerate, it is brutally honest. This world is one hellhole, and we make the lives of the ones who trying to keep this place running, a lot harder. We rarely think about the ones of whom we depend the most.
Nicolas Cage is at his best as burned-out paramedic Frank Pierce who is haunted by the patient whose life he failed to save. Through three nights with three different partners (John Goodman, Ving Rhames, Tom Sizemore), we can see Frank falling apart more and more. He tries to relief his remorse with offering his support to Mary (Patricia Arquette), a daughter of a man Frank brought in with cardiac arrest. Both being depressed they barely find any solace in this cruel place.
Scorsese's gritty style and atmosphere of hopelessness and devastation leaves the viewer without any solace, but the film manages to touch us deeply.
Nicolas Cage is at his best as burned-out paramedic Frank Pierce who is haunted by the patient whose life he failed to save. Through three nights with three different partners (John Goodman, Ving Rhames, Tom Sizemore), we can see Frank falling apart more and more. He tries to relief his remorse with offering his support to Mary (Patricia Arquette), a daughter of a man Frank brought in with cardiac arrest. Both being depressed they barely find any solace in this cruel place.
Scorsese's gritty style and atmosphere of hopelessness and devastation leaves the viewer without any solace, but the film manages to touch us deeply.
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