Favourite Director: Steven Spielberg

"We have 11 Palestinian names, each one of them had a hand in planning Munich. We want them all dead."

Steven Spielberg has always been capable of achieving excellent results when behind the camera. I have been a massive fan of his work for years now and I always anticipate the release of his latest movies.

Munich was a film that I had wanted to see ever since I learned he was at the helm. The film met with major criticism preceding its release because of the short time in which the film was made. Filming began in June 2005 with a December 2005 release date in mind. Spielberg has always been good at making films in a very tight shooting schedule.

While watching the movie I couldn't believe the focus and concentration that is obvious while watching each frame of film that has been produced.

Munich is a riveting, powerful, involving and confronting human drama that is one of the most important films of this century. It was a daring move to produce such a confronting piece of cinema due to how incomplete the facts are; make no mistake, the film is no history lesson. But then again it was never meant to be a documentary. The facts presented may be seen as agonizingly erroneous, but what actually happened will always remain a mystery.

Munich is also a milestone in Steven Spielberg's career. He has been well known for making family-friendly blockbusters that sometimes mirror his childhood. The film represents a step up for maturity in Spielberg's filmmaking.

Based on true events; Munich chronicles the fate of 11 Israeli Olympic athletes who were brutally murdered during the Olympics of 1972 in Munich. In response to the savage massacre the government commissions a group of agents to track down and eliminate those responsible for the tragedy that occurred in the Olympic village that fateful day. The five-man team carry out their mission with the knowledge in mind that they officially have had no contact with those who hired them. The mission is confidential and officially does not exist. As the team eliminate men in the most callous of ways and the body count rises - so do questions, uncertainties and sleepless nights. They begin questioning the justification of the counter-violence and loyalties begin to blur.

Munich is a film that asks a lot of its audience as Spielberg presents questions without answers; offering no easy answers and keeping firm focus on the human response and the conflict between the motivations behind their actions and the consequences.

The tension built up between the characters is insurmountable. Some of the pivotal roles are executed in outstanding style; the accents seem genuine and each line appears to be said with meaning. The film wastes no time getting into the nitty gritty suspense sequences.

Spielberg has also integrated archive footage that gives the film a high level of chilling realism. The beginning events are essentially told through the archive footage presented. And throughout the movie we are shown clips that look in detail at the tragic massacre during which 11 athletes lost their lives. Some of these clips are shown in harrowing realism; startlingly showing brutal violence and heart-wrenching sequences that will have your mouth gaping open.

Cinematographer Janusz Kaminski achieved fantastic results with this film. The action and suspense scenes were filmed extremely well. From the opening sequence I was already engaged in the film; although production was rushed it never feels this way.

John Williams' score creates a brooding, maligned atmosphere that is intense and malevolent. The key suspense scene had me sitting in awe at what was going on.

Munich was a daring film but was executed spectacularly. The film is challenging, pulse-pounding, captivating and involving. The whole film is an extraordinary experience marred only marginally by its over-length. Highly recommended.

"Legend says that a crystal skull was stolen from a mythical lost city in the Amazon, supposedly built out of solid gold, guarded by the living dead. Whoever returns the skull to the city temple will be given control over its power."

The fourth and final instalment in the celebrated Indiana Jones series was a long time coming. It has been 19 years since the release of Indiana Jones and the Last Crusade; that's 19 years of the project being stopped and started. The classic adventure hero could only return if the correct screenplay was discovered. George Lucas, Steven Spielberg and Harrison Ford finally gave the green light to a screenplay penned by David Koepp.


Every fan of the Indiana Jones movies will want to know if the painfully long wait was worth it. So is this fourth Indiana Jones film really worth the wait? The answer is an emphatic yes!


The plot of this movie was kept an enormous secret throughout the production. In this day and age that is a daunting task. The film is a lot more special when you don't know much about the plot. I don't intend on spoiling the film by providing an in-depth plot synopsis, so I shall be brief.


Beloved archaeologist and legendary adventurer Indiana Jones (Ford) becomes entangled in a Soviet plot to uncover the truth behind the Crystal Skull; an object of myth and superstition. The Soviets, lead by the nefarious Spalko (Blanchett), believe that with the power of the Crystal Skull they could dominate the world. Indy is now accompanied by several cohorts including the young Mutt Williams (LaBeouf), former lover Marion Ravenwood (Allen, reprising her role from Raiders of the Lost Ark), insane professor Oxley (Hurt) and long-time partner Mac (Winstone). With the Soviets endlessly pursuing them, the gang must try to elude capture and prevent the powerful ancient object from falling into the wrong hands.


Indiana Jones and the Kingdom of the Crystal Skull is a lot deeper and more complex than implied in the short plot synopsis. The typical formula has been drastically altered, but this is a change for the better. Everything has been structured differently. The memorable opening in particular introduces us to the new Indiana Jones: he's no longer young and fast, but aging and fit.


An Indiana Jones film would never be complete without loads of action and exciting adventure. In this case there is plenty of action that begins quickly. The film is exceedingly fast-paced and over-the-top. There are several homages to classic films from the works of Spielberg and Lucas (the opening few shots mirror Duel and American Graffiti) while always being original and exciting. This film also retains numerous crew-members who worked on the previous movies. From the casting department, the editor, the producers - they have all been called back to make this one.


Of course this is now the age of CGI and blockbuster effects. About 30% of the film is CGI. But much of the film is actually live action. Old school effects appearing in contemporary cinema is a rare event indeed. Heaps of the action is extremely over-the-top. More so than the other films. A lot of the action is absurdly unrealistic, and this is one of the film's only flaws. All the action is at least entertaining with never a dull moment. I never felt bored at all. Never did I feel compelled to continually check my watch. This is the beauty of such fine filmmaking.


Spielberg is a fine director, now with an able new cinematographer who manages to recapture the wonderful cinematography of the previous films.


Harrison Ford will always be Indiana Jones. It's the part he was born to play! He's much older and he looks much older, but he is still energetic and fit for someone in their late 60s! Cate Blanchett is a formidable villain. Blanchett is one of the best working actresses of the current generation. She succeeds in playing a nefarious Russian villain. It's fantastic to see Karen Allen reprising the role of Marion Ravenwood. I have no complaints about the rest of the fantastic cast.


John Williams excels himself once again. No-one else can possibly compose the score for an Indiana Jones movie.


Indiana Jones and the Kingdom of the Crystal Skull is definitely worth the wait! After years of scrapping ideas and scripts, I'm happy they finally settled on a screenplay and went ahead with the film. It's a vastly different Indiana Jones film of course. Because of advancing technology it looks and feels different. But the film is fun, filled with action and provides an extremely fitting conclusion for everyone's favourite adventurer. I was just disappointed that it had to end. Beware: this Indy movie is more of a 1950s alien B-Movie.

"Sometimes it's easier livin' the lie."

Catch Me If You Can is one of Spielberg's best films of late. The whole film is told with a very bright, charming atmosphere accompanied by great filmmaking in every aspect.

Based on the real life story, Leonardo DiCaprio plays teenager Frank Abagnale Jr. who runs away from home at a tender age of 16. After the bitter divorce of his parents, Frank can't deal with the emotion and flees his home in an attempt to escape what is happening. But Frank soon discovers that he has very little funds to keep him going, and realises that he can pose as someone employed in a high class occupation to get him a nice fat paycheck.

Before Frank reaches his 21st birthday, he proceeded to impersonate a pilot, a doctor, a lawyer and became a dab hand at forging cheques and making millions in the process. Tom Hanks is FBI agent Carl Hanratty who is assigned to the case. Over the course of many years, Carl chases Frank in an attempt to bring him to justice for his brilliant crimes.

The film's running time hinges on the lengthy chase that ensues when Carl is chasing Frank who appears to be one step ahead all the time. Many may complain about the running time, but I was engaged in the film from start to finish.

Spielberg's direction makes for a fascinating visual feast for the eyes, and John Williams' jazzy score creates an audio feast for the ears. The style of the film has yet to be matched in a film of this genre. Because everything is done to perfection there are little flaws, and hence an astronomically high entertainment value.

From the cleverly animated opening credits that set the atmosphere right up until the brilliant conclusion, I was hooked.

Leo DiCaprio was a great choice for the title role. Although I'm not an overall fan of the young fellow, I felt that only Leo could pull this one off. Tom Hanks is exceptional as an FBI agent.

Catch Me If You Can is a high energy romp that is truly one of Spielberg's best films in recent years. It will surely provide great entertainment for a rainy afternoon or a boring evening.

"Please make me a real boy?"

Unfortunately, it seems that A.I. is Spielberg's weakest hour. But that's not to say that this Kubrick-style sci-fi production is bad; because the premise is excellent, but the film takes a few too many wrong turns.

A.I. is set many years into the future when the polar ice caps have melted and coastal cities are underwater. Presenting us with a dystopian vision of the future, we follow a group of scientists who develop highly advanced mechanoids. The science team decide that they should develop and design a robotic child with the ability to love.

The result produces an artificial child named David (Osment) who is adopted into a reluctant suburban family. David learns to love his "mother" Monica (O'Connor), but unforeseen consequences with David result in his abandonment. Being inspired by the story of Pinocchio, David sets out to find the Blue Fairy to make him a real child and put an end to the barriers between man and machine that caused the troubles in the first place.

The first half of the film sets everything up brilliantly; it's very well scripted and contains some highly creative concepts. But alas as things get too fanciful, long, and exceedingly more dull it results in this mediocre product.

Steven Spielberg's directing was superb like always and strong from start to finish. But despite this strong direction the film still suffers greatly into the second half like I previously stated.

The film holds a heavy reliance on the performance by young Osment. He is capable of establishing himself as a robot due to being emotionless at times. This is a rare case when the robotic nature of an actor is actually a positive. But then again it seems the filmmakers relied too heavily on Osment looking cute in order for us to empathise with him. But the biggest flaw in the film as a whole was the concluding 20 minutes. Not only are these final minutes highly unnecessary, but they're also just plain stupendous.

One of the film's strengths was in the fantastic score provided by none other than John Williams. Whenever he works with Spielberg he manages to produce some extraordinary tracks of music.

The visual effects are nothing but the finest in such an ambitious project. The mechanoids actually feel quite genuine and looked very impressive. Visually, the film is extremely eye-catching.

At the end of the day, A.I. is an extremely underwhelming film from one of the world's finest directors. It seemed that all the proper ingredients were present; good cast, legendary director, celebrated composer. But somewhere during the moviemaking method I feel that they lost the plot and ended up creating a highly average, albeit visually impressive film. Robin Williams, Chris Rock and Meryl Streep appear uncredited for use of their voices.

"The boy's alive and we're going to send someone to save him... and we are going to get him the hell out of there."

The directorial career of Steven Spielberg commenced in the early years of the 1970s. Spielberg originally directed Duel before progressing onto further projects such as The Sugarland Express, Jaws, and the excellent Indiana Jones adventures (beginning with Raiders of the Lost Ark). These few years established Spielberg as an accomplished purveyor of light-hearted blockbusters and good fun action movies. It was in 1993 that Spielberg demonstrated his ability to direct powerful and mature films. Schindler's List denoted a crucial addition to Spielberg's extensive résumé: a modern masterpiece that personified good (Schindler) and evil (Amon Goeth), playing out the struggle against the tragic backdrop of the Holocaust.

1997 marked the release of two further additions to the Spielberg canon - Amistad and The Lost World: Jurassic Park. These films are fine examples of Spielberg as a thinker and as an entertainer. For 1998's Saving Private Ryan, these two characteristics are deftly merged. Not only is Saving Private Ryan an extremely powerful and deeply philosophical affair, but it's also very entertaining and utterly riveting for its entire duration.

D-Day: Tuesday, June 6th, 1944. At 6:30am that ill-fated morning, an initial assault wave disembarked at Omaha Beach. This first assault wave comprised of 96 tanks, almost 1500 assault infantry, and a task force of engineers to clear the landing area of obstructions. In the hours preceding the landing, the German shore defences were heavily pulverised by Allied artillery, naval guns, and aerial barrages. However as the first landing craft came within a quarter-mile of shore...it became apparent that the German fortifications hadn't been neutralised. Rough seas and poor visibility had hampered the artillery bombardments, with overcast conditions amplifying the margin of error for the bombing runs. Consequently, a majority of the bombs hit too far inland. Establishing the beachhead would prove to be far more gruelling than originally envisaged. As the landing crafts hit the sand, the infantry immediately found themselves under concentrated small-arms, mortar and artillery fire from enemy fortifications that covered Omaha Beach. Burdened by heavy equipment, weakened by seasickness, exhausted, and disoriented by the mayhem surrounding them, the disembarking infantry had to travel through knee-deep to waist-high water, making them easy targets for the German soldiers. Upon reaching shore, they then had to move up 200 yards of open beach before reaching any form of cover. All this while avoiding enemy fire, which fell thick and fast all around them. This event was a violent massacre.

The story conveyed in Saving Private Ryan is prefaced with the D-Day landing at Omaha Beach. This beginning is commonly regarded as the best battle sequence ever committed to celluloid. It's also frequently regarded as the best war scene in cinematic history. This sequence depicts the Omaha Beach landing from the perspective of the soldiers who fought it. This is a brilliant scene, not only in terms of technique but in its unparalleled ability to have a viewer completely immersed as the anarchic mayhem transpires. This is certainly the most violent, gory, visceral cinematic depiction of war I have ever witnessed. Spielberg spares the viewer nothing of the horrors of war as he uses every tactic at his disposal to convey the utter turmoil and futile waste that lies at the core of any engagement. The audience is presented with unforgettable, haunting images of bodies being cut to pieces by bullets, limbs being blown off, entrails spilling out, as well as a range of additional assorted examples of carnage. When the tide comes in at the battle's conclusion, with the waves breaking on the body-strewn beach, the water is crimson. It's jaw-droppingly compelling material, and all the more sobering when you realise that this isn't fiction - this actually occurred to the mostly young, inexperienced soldiers. Spielberg and his cast & crew have produced an astonishingly faithful recreation of the war experience. Shell-shocked D-Day veterans reportedly staggered out of theatres mumbling "someone finally showed what it was really like". Steven Spielberg won a Best Director Oscar for his efforts of course.

"This Ryan had better be worth it - he better go home and cure some disease or invent a longer-lasting light bulb."

The story following this phenomenal opening sequence is a simple one. A group of eight soldiers, led by D-Day survivor and hero Captain Miller (Hanks), are dispatched to find a soldier who is currently believed to be stuck behind enemy lines. This soldier they're searching for is Private James Ryan (Damon) whose three other brothers were killed in action. To avoid the devastation of Ryan's mother suffering the loss of her last son, General George C. Marshall (Presnell) orders these aforementioned eight soldiers to find Private Ryan and bring him back home. Screenwriter Robert Rodat adapted the story from a real-life situation.
This is an incisive, philosophical story. The underlying theme that runs the length of the movie is in regards to the value of a single human soul. As the eight-man platoon suffers casualties, is it really worth it just to save one man? Are there lives in this world more important than others? As the soldiers strive to complete their objective, their loyalties begin to blur and they begin to question the necessity of the mission. Spielberg vividly contrasts the faceless carnage of the Omaha Beach landing with the extremely personal and shocking deaths of some of the soldiers during their mission. Thousands died on Omaha beach, including many close friends of the surviving men. Yet the nature of this mission - which a majority of the men see as "Fubar" - causes them to question the value they place on their own lives as well as the lives of their friends. As events unfold, these soldiers commit acts of vengeance and rage that they themselves would most likely never have thought themselves capable of mere days beforehand.

"To me sir, this mission is a serious misallocation of valuable military resources."

The three-act structure of Saving Private Ryan is moderately straightforward. The movie is book-ended by two major battle sequences. In between these two major battles there are smaller skirmishes and relatively subdued character-building moments. Consequently the entire film is absorbing, engrossing, mesmerising and totally enthralling. Spielberg's Saving Private Ryan is an emotionally intense journey through the battlegrounds of occupied France during World War II. Director Spielberg delivers one of the greatest war movies of all time, if not the greatest war movie in history. But, despite being set against the background of WWII, this isn't just a war movie; this is a human drama first and a war adventure second. It commemorates the preservation of hope, courage, and sacrifice in the cauldron of fear and devastation that was WWII, or any war for that matter. These virtues shine brightest throughout humanity's gloomiest hours. Spielberg understands that in art one must show the horrors of a certain situation in order to suitably illustrate the full potential of the human spirit. All of the verisimilitude merely exists to transport us into the hearts and minds of those who tolerated such taxing circumstances so that we may perhaps identify with them, and maybe become acquainted with ourselves a bit better along the way.

As escapist entertainment (something that Spielberg also relishes) Saving Private Ryan is a masterpiece that offers a rollercoaster ride yet to be equalled or surpassed.

"We're not here to do the decent thing - we're here to follow fucking orders."

The authenticity of its period depiction is truly astounding. Spielberg opted for the film to be shot in bleached colour, with lenses similar to those available during the 1940s to give the impression of actual documentary footage. The director employs other methods to encapsulate the essence of combat - gritty hand-held cameras, a slight speeding up of the images, muted colours, and an assortment of different kinds of film stock. Altogether this adds up to a dizzying, exhausting assault on the senses. Needless to say, the film confidently won the Oscar for Best Cinematography and Best Film Editing.
The searing and uncompromising images of violence and gore almost earned an NC-17 rating from the MPAA. However the gore is by no means exploitative or exaggerated. Instead of dwelling on geysers of blood being spilled, the film continues to rapidly move along at lightning pace.

If you're avoiding the movie due to the three-hour running time, then you're avoiding it for all the wrong reasons. 160 minutes has never flown by so fast. You'll be so captivated by the brilliant filmmaking that you won't ever be reduced to boredom. The film is also remarkably visceral. Spielberg very sparingly employs CGI. Things are generally kept practical, and the rare instances of CGI are so subtle that you won't notice. Even about 20 amputee stuntmen were employed and fitted with prosthetic limbs.
Words cannot accurately describe how remarkable the sound design truly is. Loud accurate gun noises, deafening explosions and explicit stabbings are among the moments perfectly topped off by the terrific sound mix. Needless to say, the film earned an Academy Award for both Best Sound and Best Sound Effects Editing.

There's an absolutely astonishing cast at the centre of the film. Tom Hanks once again delivers an impeccable performance. He was nominated for an Oscar, naturally. The excellent ensemble cast also includes Tom Sizemore, Matt Damon, Edward Burns, Jeremy Davies, Vin Diesel, Adam Goldberg, Barry Pepper, Ted Danson, Paul Giamatti and Giovanni Ribisi. They all look the part and convey the emotional necessities of their respective characters.
In the film there is no specific human villain. Even the harsh ideology and inhumane beliefs of Nazi Germany aren't presented as the evil to be overcome. Instead war and the blistering impact it has on soldiers is the real enemy.

"The more men I kill, the further away from home I feel."

John Williams was nominated for an Oscar for his terrific music. In my opinion this must be considered as one of Williams' finest scores. The music is touching and poignant, heroic and emotive. Music is never employed during the action sequences simply because (as Spielberg once explained) it reminds the audience that they're watching a movie. Instead of music, the ambient sound effects permeate the battles. This works perfectly. Other Oscar nominations included Best Writing and Best Make-Up. It deserved both of these awards in my books.

After the masterpiece of Schindler's List, nobody could imagine Spielberg crafting another masterpiece of such brilliance. But Saving Private Ryan is proof the director is capable of making another film of such a high standard. In my opinion, Saving Private Ryan earns the honour of being the greatest war film in history. It's gripping, engrossing, and uncompromising. Spielberg strikes the perfect balance of confronting horror and poignant human drama. The director's dexterous touch is readily apparent throughout this film, particularly in his inspired use of camera framing and movement as well as the soundtrack that plays a crucial role.

Saving Private Ryan is the most powerful and accurate cinematic rendering of World War II. Nothing you've ever read in history books can prepare you for the uncompromising way Spielberg brings the war to life...he does so with great attention to detail and a genuine passion for honesty toward his subject matter. Some bitterly complain about this film being potent American propaganda. The same can be said about any war film. This particular war film is based on a real mission that was carried out by American soldiers. If you think this is propaganda then you're unbelievably narrow-minded.

"Where's the sense of risking eight lives for one guy?"

In one of the biggest Oscar blunders in history, the Academy overlooked this masterpiece and awarded Best Picture to Shakespeare in Love. How this happened is simply beyond me...

"Give us the courage to do what is right. And if it means civil war? Then let it come. And when it does, may it be, finally, the last battle of the American Revolution."

Amistad is straightforwardly one of Steven Spielberg's greatest motion pictures: an uncompromising, violent history lesson that does not succumb to telling a story of one of the tiring traditional historical events such as the American Civil War, the holocaust, etc. As an alternative to these aforementioned events that have been endlessly told in Hollywood productions, Spielberg tackles a poignant and imperative true story pertaining to the abolition of slavery that had yet to be explored on film.


Set in 1839, a Spanish slave trading vessel known as 'La Amistad' is transporting African prisoners with the intention of selling them into slavery. Not prepared to meekly submit to the harsh conditions they are forced to endure, the Africans stage a violent revolt against their captors. This rebellion is lead by a passionate African named Cinque (Hounsou) whose solitary goal is to sail back home and return to his beloved family. With this objective in mind the Africans inadvertently sail into the shores of the United States. They are captured and detained as runaway slaves. Mindless legal battles between several parties begin to materialise in regards to ownership of the African slaves. These Africans cannot speak a word of English, hence clueless to their probable execution for their violent rebellion. Challenging these assertions is the abolitionist Theodore Joadson (Freeman), a former slave himself, who desires for the Africans to be released and returned to their homeland. Theodore requires a lawyer to represent his position in the courtroom. As a representative he hires property lawyer Roger Baldwin (McConaughey) who believes that he can help.


The film then becomes a fascinating drama as the trial commences and the fate of the confused Africans instigates a battle of words in a confined courtroom. Following various legal proceedings the case is then brought before the US Supreme Court. Facing defeat, Theodore and Roger consult former president and lawyer John Quincy Adams (Hopkins) for help.


Amistad is a gripping legal drama fuelled by a sublime cast. Anthony Hopkins was nominated for an Oscar as John Quincy Adams. This decision is indisputable: for each scene Hopkins features in, he is always a stand-out. The final courtroom speech delivered by Hopkins is driven by poignancy and power. Although said monologue goes for almost 10 minutes there is never a dull second. Every line is attentively thought out. Djimon Hounsou's passionate portrayal is another highlight of the movie. For about 60% of the film's duration the setting is restricted to a courtroom. It can be logically deduced that acting skills of the highest order are absolutely necessary. Hounsou is always compelling and authoritative with his character's motivations blatantly palpable. This is a focused actor who has a great career ahead of him. Recognition must also go to Morgan Freeman and Matthew McConaughey. Freeman is one of the best actors of his generation. He is outstanding! It's refreshing to see Matthew McConaughey playing a unique role. Now that he's notorious for crummy romantic comedies I was a little concerned at first. My fears dissipated very quickly. Combine a mediocre actor with a great director...the results are excellent.


The cinematography by Janusz Kaminski was also nominated for an Oscar. Similar to films like Schindler's List and Saving Private Ryan, Spielberg only uses the best cinematography accessible. This gorgeous cinematography also assisted in keeping my interest during the long courtroom scenes.


An Oscar nomination was also tossed at John Williams for his admirably beautiful score. The film is topped off outstandingly with the commendable directing courtesy of Mr. Steven Spielberg.


Amistad is powerful, compelling and beautiful. Only being marred marginally by its over-length, this film is a praiseworthy historical epic from the master of modern cinema.

It's Hebrew, it's from the Talmud. It says, "Whoever saves one life, saves the world entire."

Steven Spielberg's Schindler's List is a challenging film to review. The incentive behind this is not because it's a bad movie...but that it's such a powerful experience to exhibit and it's virtually unfeasible to illustrate its power by employing words. In a sense, Spielberg's Schindler's List is something much more than a movie: this is a phenomenon!

When it was announced that director Spielberg was taking the reigns, this declaration encountered nothing but abject incredulity. Beforehand the director had only helmed mainstream blockbusters and films exhibiting bright exuberance like Jaws, Always, The Sugarland Express, Raiders of the Lost Ark and several others. Questions and uncertainties began to surface concerning the director's aptitude and capability to tackle a project of such enormity. There comes an occasion in the career of a director when they step away from the genre in which they take an interest, instead attempting something new. Certain directors have failed, some have prevailed. When Schindler's List was set for release, audiences sharpened their knives due to their qualms regarding the director. But make the film Spielberg did, and the world came to watch.

Spielberg achieved his goal beyond all initial comprehension...this was a step upwards for the director and a significant milestone in contemporary cinema. For the film's three hours duration audiences sat under an overwhelming collective spell - horrified, beleaguered, fascinated, inspired. As movie-goers stumbled, erratically blinking, from the theatres of the world, moist-eyed and moved, it became clear that a new era of filmmaking had commenced. Spielberg traded in his stereotyped career in the year 1993 with an astonishing double-whammy - he envisioned an unparalleled Holocaust template with Schindler's List, as well as resurrecting the dinosaurs with his astounding vision in Jurassic Park. By 1994 Spielberg was presiding over the most lucrative motion pictures of all time, and finally he received his cherished Oscar.

The subject matter is correctly a delicate topic. After all, it was only a number of decades ago that Adolf Hitler instigated a policy that necessitated the annihilation of Jews. Personally, I have studied the Holocaust in detail and am knowledgeable in the intricate, heart-wrenching niceties regarding the events leading up to mass murder. On a daily basis throughout the Holocaust, thousands of Jews were executed in sadistic ways - people were cooked alive, some shot, even some were exposed to poison gas. The disturbing factor is that the Nazis never felt an iota of sympathy due to the attitudes they were so severely lead to believe.

The focus of Schindler's List is not to portray the horrors that unfolded in extermination camps at all. Spielberg keeps the focus purely on the more minor events, and above all the viewpoint from a select few characters. The heavy nature in its depiction of executions challenges out notion of tolerance. We are challenged not only by the staggering acts of cruelty we see, but by the equally confounding acts of kindness. As we observe these ghastly proceedings unfold, we are strained to identify those virtues within ourselves that are equally light and dark. Schindler's List is not a film that we can impassively scrutinize. We are propelled into the dismay and the panic...the indignity, the brutality. As the title would suggest, this film is mainly the story of one man: Oskar Schindler (Neeson). Schindler is a Czech of German ethnicity who travels to Poland with the intention of becoming a war profiteer. He employs assistance from Jewish investors in order to buy his own pots-and-pans factory. At the outset, Schindler uses forced Jewish labour because it was inexpensive compared to hiring Polish workers. However, Schindler witnesses as World War II and the Holocaust develops with devastating results. These events are too overwhelming to fathom, and Schindler begins experiencing a slow, subtle moral awakening. His poignant story of bravery and generosity launches when Schindler cons the Nazis as he places more than a thousand Jews under his protection. By the conclusion of World War II, Schindler had exhausted his whole war-generated wealth to guarantee that his Jews would never again be touched by the Nazis.

On a more subtle, thematic level the screenwriter portrays a battle for Schindler's soul between camp commandant Amon Goeth (Fiennes) and Jewish accountant Itzhak Stern (Kingsley). Schindler's story is a staggering one. In a cacophony of death clouding his existence, one man managed to save roughly 1,100 Jewish lives using charisma, bluster, and trickery. The Holocaust has been previously described as a mechanical insanity because of the enormity of people who followed the philosophies: they are like cogs in a machine. It took a single person...a single machine cog with alternative ideas and an ethically problematic lifestyle (Schindler treasured alcohol and womanising) to mislead the Nazis (who regarded him as their frivolous comrade).

At the centre of the film we have a simply sublime group of actors. Liam Neeson nails the character of Oskar Schindler in a satisfyingly brilliant performance. Neeson perfectly displays Schindler's quiet method of expressing his morals. His outward show suggests he is a close buddy of the Nazis, but on the inside he's resentful and anguished towards the brutal, arbitrary termination of Jewish lives. Neeson was nominated for an Oscar. Ralph Fiennes was also nominated for an Oscar. His performance is utterly terrifying: he's intimidating and unnerving whenever he steps into the frame. His sheer established cruelty and viciousness will be enough to leave you in complete shock. This actor is focused as he portrays a character that appears to be soft-spoken when in fact his intentions are cruel and inhuman.

The meticulous screenplay was penned by Steven Zallian, and was based on the source material by Australian writer Thomas Keneally. Interestingly, Keneally was an accomplished author when he strolled into a luggage shop and immediately struck up a conversation with the shop owner. Said shop owner was one Leopald Page, formerly Poldek Pfefferberg: a Schindlerjuden. During their friendly conversation, Pfefferberg conveyed to Keneally the story of Oskar Schindler: the German industrialist who had saved him and 1,100 others from certain death in occupied Poland during the 1940s. Schindler was a Nazi who had not stood back. Keneally was so inspired and moved that he transformed this story into the Booker Prize winning novel Schindler's Ark. The rights were soon purchased by Universal boss Sid Sheinberg, and the transformation from book to movie was soon initiated. When Spielberg was involved in the project he originally offered the film to director Roman Polanski, but his own experiences in Polish ghettos were too tender for him to accept the director's chair. Thus Spielberg, who was at the time ensconced in post-production work for Jurassic Park, decided to tackle the directing duties himself. The director flew to Poland and began his masterwork for which he accepted no salary, saying that it would be akin to taking "blood money."

Spielberg worked intimately with cinematographer Janusz Kaminski, and the project was lensed using stylish grainy black and white photography techniques. The film was undertaken without any storyboarding: Spielberg planned each shot instinctively as the cameras were about to roll, where all of his God-given skills as an accomplished director were distilled into something intuitional and turbulently expressive. The cinematography techniques created a realistic atmosphere of almost documentary footage: he utilised jarring hand-held filmmaking to portray the intense confusion for the Jews during times of complete chaos. Spielberg evokes these creative techniques to create the illusion of complete immersion: for the 190 minutes that make up this film's duration, you will feel transported to an entirely different world...you will feel engrossed in the occurrences. The music by none other than John Williams (Spielberg's trademark composer), is a poignant composition that adds to the atmosphere. But it's not the music that ultimately helps the audience get involved: it's the visuals. One scene was played to very little music; however it always makes me cry. The scene in question is when we watch as corpses are transported past Oskar Schindler to be dumped into the ground without an iota of sentimentality towards any of the victims. No matter how manly you consider yourself, your eyes will be moist.

Spielberg does not want his audience to endure a fun romp that you'll want to immediately watch again...he instead tells his story straight and with the utmost sincerity. World War II films cannot come more personal than the masterpiece that is Schindler's List. The reviews were exultant and the Oscar committee rewarded the film with twelve nominations. Although Spielberg did receive some criticism in relation to several aspects of the film, such judgements are hard to swallow after watching this film. While some slam the director for not including the prejudice towards the handicapped and the homosexuals that were also prosecuted, or that the focus was shifted away from the concentration camps...quite simply it does not matter at all. This is the story that Poldek Pfefferberg wanted told: a story that intimately examines one man and his struggle to come to terms with his morals during an internationally horrific event. This was never meant to be the definitive Holocaust film and hence doesn't need to concentrate on all aspects...this is a personal movie based on a personal experience.

After trying with such dedication since the commencement of his career, Steven Spielberg has finally achieved a mature production with Schindler's List. An extraordinary work by any standard: this intense historical and biographical drama, about an amazing Nazi industrialist, evinces an artistic intransigence and unsentimental intellect disparate from anything the world's most successful filmmaker had previously demonstrated. Infused with a brilliant screenplay, outstandingly sinuous cinematic techniques, three astonishing lead performances and an approach toward the traumatic subject matter that is both passionately felt and impressively restrained, this is the film to win over the Spielberg skeptics.

Even now, all these years after its cinematic release, Schindler's List remains an expressive, heartbreaking and remarkable slice of filmmaking that transcends all obstacles of theatrical disbelief. The film successfully draws us personally into the dark hearts of a dark age, and then liberates us with the few beams of light produced by the actions of the righteous few. The harrowing detail and poignancy of this production will enthral audiences for generations of movie-goers to follow. After you finish watching this movie you will have the words of Schindlerjuden profoundly present in your heart - "That it may never happen again." Winner of 7 Oscars including Best Picture 1993, Best Director (for Steven Spielberg), Best Cinematography (for Janusz Kaminski), Best Music (for John Williams), Best Film Editing (for Michael Kahn), Best Writing based on other material (for Steven Zallian) and Best Art Direction/Set Direction (for Allan Starski and Ewa Braun).

"Life will find a way."

Jurassic Park is a truly amazing movie, and one of Spielberg's true masterpieces.

Although made over a decade ago, the special effects still look phenomenal and fundamentally flawless to this day. The powerhouse effects make the dinosaurs live and are truly breathtaking at times.

Based loosely on the novel by Michael Crichton, billionaire John Hammond (Attenborough) creates a remarkable theme park on an isolated artificial island filled with real dinosaurs that have been brought to life using huge advancements in state-of-the-art scientific technology.

Hammond invites a group of special guests to the island for a weekend, to show them the park and hopefully get their stamp of approval. But on the first night a security breakdown is succeeded by the dinosaurs escaping their enclosures and roaming free around the park. What starts as a pleasant weekend becomes a race for survival.

Jurassic Park is a groundbreaking production. Never before have we seen dinosaurs with this degree of realism, and never before had audiences witnessed dinosaurs that look so breathtaking. The special effects are still almost impossible to fault. And even with CGI in its infancy, it still looks fantastic on screen.

The film is a definitive blockbuster and still one of the greatest movies ever made.

As a child of the 90s I still remember watching this film constantly and even now I love the film as much as I did when I was a youngster obsessed with dinosaurs.

Sam Neill is an amazing actor and was the perfect choice for the role of a palaeontologist. Jeff Goldblum was also extremely good. As one of my favourite characters, I always found his performance to be fantastic.

It would take a long time to mention all the members of the tremendously good cast, needless to say they all did a remarkable job.

John Williams' evocative score, including the memorable theme, is also hard to fault. It gave the film its 'wow' moments, its exciting moments and its tragic moments. Williams is a composer who knows his stuff very well and is without a doubt one of the greatest film composers of all time.

It goes without saying that Spielberg's direction was phenomenal. The man has a clear vision, and knows how to accomplish it.

Jurassic Park is a much loved screen gem and a sensational experience. For those of you yet to see it, do not hesitate to get your hands on a copy. Followed by The Lost World: Jurassic Park.

"He's too beautiful. He's too much twisted steel and sex appeal. I can't be with a guy that looks like I won him in a raffle."



Always is yet another very good effort from legendary director Steven Spielberg; but unfortunately this film is not one of his best efforts. I am glad to report that the film boasts all the qualities we expect in a Spielberg film like this: it's for the family and contains good production values. But behind all this there are several flaws that unashamedly emerge.



A daredevil pilot named Pete Sandich (Dreyfuss) is the best at what he does; flying an aircraft that is used for putting out forest fires by dousing the flames with water. He finds true love in a girl named Dorinda (Hunter) who wishes for Pete to give up his job due to the danger involved. During a daring mission Pete saves his best friend Al (Goodman), but as a result Pete is in fact killed. Despite being killed in the horrible accident, Pete soon comes back in the form of a ghost. After the initial shock of dying Pete decides to give all his knowledge and experience to a promising young pilot. Now that Pete is dead he needs someone as skilled as him to continue saving lives.



Always is a film that certainly contains an interesting concept; and it goes without saying that nobody could've done better than Spielberg. However, the film's ultimate flaw was that it had a tendency to be far too cute and "feel good". That being said, it's a bit of a tear jerker at times and has been produced by a man who is a master at his craft.



Richard Dreyfuss has been in several Spielberg productions before this film. And although Always is no Jaws or Close Encounters of the Third Kind I felt that Dreyfuss was determined and gave the film everything he could. He was highly engaging and carried the film with great skill.



Steven Spielberg will always be one of the greatest directors in the history of cinema and his directing is first-rate. I never would have expected a talented director like Spielberg to be involved in such a film. I am happy that he was able to bring some appeal to a highly flawed screenplay.



Always is a pleasant emotional journey that is a respectful homage to the men who risk their lives everyday to put out forest fires.



I found the film to be both impressive and disappointing. On the one hand I can't fault the filmmaking. But on the other hand its major flaw was being too long as well as being far too cute. If you're looking for a pleasant evening to spend with the family I believe that Always would be a good choice to rent.

"Nazis. I hate these guys."

Indiana Jones and the Last Crusade is the third, but not final instalment in the legendary Indiana Jones series. The first film is still one of the best movies in cinematic history, with the second film grossly incapable of recapturing the charm and appeal of its predecessor. This next Indiana Jones adventure is the best sequel thus far. The filmmakers have almost equalled the brilliance of the first flick. Just like the original movie, Indiana Jones and the Last Crusade is a faultless blend of action and adventure with intrigue and romance thrown into the mix.


The opening sequence is always a pivotal part in the success of these movies. In this case the film opens with a prologue that traces the roots of Indy as we now know him. This prologue digs into his fear of snakes, delves into why he has a scar on his chin, the reasoning behind his passion for relic hunting and how he came into possession of his trademark items. This prologue also serves as an artefact hunt that acts as a bridge into the main plot.


Everyone's favourite treasure-hunter-come-professor Indiana Jones (Ford) whips back into action with a hunt for yet another ancient relic. Indy is taken to meet a wealthy ancient relic devotee named Walter Donovan (Glover). Walter explains that recent discoveries have been made that may possibly point to the locality of the Holy Grail - the cup Jesus Christ theoretically drank from at the last supper. Indy is also informed that the project leader has gone missing; said leader is none other than Professor Henry Jones Sr. (Connery), Indy's father. With his father's Grail scrapbook in his pocket, Indy heads to Venice in search of his father. The adventure then moves to Germany during the height of the Nazi regime. It then becomes a race against time as Indy and his father scramble to find the location of the Holy Grail before the Nazis get there first.


Indiana Jones and the Last Crusade is of course filled with endless action and excitement. Just like Raiders of the Lost Ark this film is a myriad of now memorable scenes. Some of these unforgettable scenes include a desert scene with a large tank, Indy inadvertently getting the autograph of Adolf Hitler, avoiding a nest of rats in the catacombs underneath a library, a battle in the air and a great scene set inside a German blimp.


Harrison Ford is every bit as charming and appealing as he was when the series commenced in 1981. Ford is always fit for action and is given a plethora of clever lines to work with. The casting department of these films will endlessly receive compliments and recognition for their superb choice of actors. Sean Connery is perfect in the role he was born to play. Formerly playing the role of James Bond, Connery is an absolutely ideal choice. The chemistry between Ford and Connery never feels at all contrived. The two feel like a genuine pair of father and son. More appraisal for the casting department as the rest of the supporting cast is equally remarkable. Denholm Elliot, John Rhys-Davies, Julian Glover, Alison Doody...they are all outstanding.


No Indiana Jones film is complete without the brilliant directing from Steven Spielberg and the exciting music from John Williams. Composer Williams excels himself with the music in this film. There is plenty of action accompanied with a perfect score. The special effects still look elegant and hard to fault. I adore the use of old school effects. In this case everything is done practically and all special effects objects actually have a screen presence. The cinematography is also a major stand out with this film as well.


Indiana Jones and the Last Crusade satisfied my every requirement in an adventure movie. Loads of action, plenty of witty dialogue, well conceived characters and a high level of excitement. Many have tried, but no-one can ever match the brilliance of the Indiana Jones movies. They don't make movies of this elegance anymore. Followed 19 years later by Indiana Jones and the Kingdom of the Crystal Skull.

"Fortune and glory, kid. Fortune and glory."

The original Indiana Jones film was a little known production that became a worldwide hit. After the great success of Raiders of the Lost Ark it was inevitable that the team would get back together and produce another ripping yarn of an action/adventure flick. Indiana Jones and the Temple of Doom is certainly the weakest Indiana Jones film to date. After watching it again after all these years I am reminded that even the worst film of a film series can still be bucket loads of fun.


Temple of Doom is a prequel to the original Indiana Jones film, this time set in 1935 before the Nazi occupation commenced. At the beginning of this film we are once again introduced to the legendary archaeologist with a weakness for adventure, Dr. Indiana Jones (Ford). Jones narrowly escapes a group of Chinese gangsters in a nightclub in Shanghai, ending up stranded in a remote location in India. He finds himself being partnered with a young Asian boy named Short Round (Quan) and a head-aching nightclub singer named Willie Scott (Capshaw, who ended up marrying director Steven Spielberg). The trio come across a devastated village that is under crisis. Their children have been taken and their precious stone stolen. The villagers believe Jones and his companions were brought here for a specific reason: to recover their precious stone and the missing children that they hold dearly. Trekking across the thick jungles of India the gang reach the enigmatic Pankot Palace where they are openly welcome. Indy is then faced with a baffling religious ceremony in a mystifying temple. With two companions and a whip by his side, Indy must battle the powerful forces of evil in order to recover the sacred stone and the young children that were taken as slaves.


Indiana Jones and the Temple of Doom is a lot darker and more sinister than its forerunner. We still have the gorgeous locales and elaborate sets, but we are also given some menacing horror scenes that will easily frighten young viewers. Especially when the action moves to the temple, things suddenly become exceedingly shocking. I remember being quite disturbed by these sequences when I was a youngster.


The charm and wit of Harrison Ford has not disappeared at all. Ford is energetic, funny, and sublime as Indiana Jones. The character is still whip-touting and skilled. His dialogue is impeccably written and faultlessly delivered. There is no wonder why Indiana Jones was voted several times as one of the best action heroes of all time. Kate Capshaw will make your head hurt. Throughout the whole film she's endlessly whining or complaining about the conditions. Her character is cleverly constructed; however she's just the essential clichéd damsel in distress. The first film boasted a feisty female lead who suffered from very few fundamental conventions. Recognition must go to Jonathan Ke Quan, a young actor who does a stellar job.


Steven Spielberg is the only man with the skill to helm a successful Indiana Jones film. Even with dated visual effects and limited resources, Spielberg is an accomplished director competent in bringing words on the page to life with great results.


Like the first film, this instalment is filled with stacks of stunts and spectacular special effects that are so abundant that it never leaves us any time to breathe. Unsurprisingly, the film is topped off gorgeously with the rollicking score courtesy of acclaimed composer John Williams.


Indiana Jones and the Temple of Doom was never going to improve upon the original movie. Be that as it may, this prequel to the successful 1981 adventure film is influential and entertaining. Followed by Indiana Jones and the Last Crusade.

"For nearly three thousand years man has been searching for the lost ark. It's not something to be taken lightly. No one knows its secrets. It's like nothing you've ever gone after before."

The Indiana Jones films became the most influential adventure films in cinematic history. The films made their mark on the genre and still influence the way adventure films are made to this day. What's the allure of the series? Put rather simply, all the Indiana Jones films impeccably merge action, exhilarating adventure, dazzling locations, marvellous humour and a mixture of great characters. Raiders of the Lost Ark is the first instalment in the highly acclaimed Indiana Jones series, and still the superior film. The elegance and class of this movie is so far unrivalled and unsurpassed even after several decades.


Set in 1936 on the eve of World War II, Dr. Indiana Jones (Ford) is a renowned archaeologist and a famed adventurer. Jones grows tired of lecturing students at a university; instead he adores trekking through the jungle touting a whip and a gun while searching for ancient artefacts. After an incredibly memorable opening sequence set in Africa, Indy is hired by the United States government to investigate the possible existence of the 'Ark of the Covenant'; an ancient relic that appears to be the cause of strange doings by the Nazis. Indy is pitted against rival archaeologist René Belloq (Freeman) who is also searching for this illustrious ark that has been nothing but myth and legend for centuries.


This fascinating story is merely the beginning as the film rapidly moves to numerous different locations around the globe from Nepal to Cairo.


Harrison Ford is unreservedly perfect for the principal role of Indiana Jones. Ford possesses that certain look about him that suits the role of both an adventurer and a professor. His dialogue is delivered extraordinarily, and his on screen magnetism is one of the film's highest points. Ford has all the wit and appeal: the character of Indiana Jones is the essential embodiment of an adventure hero that encompasses all the qualities and the charisma that makes him one of the best action heroes of all time (as voted on several occasions). Ford is partnered with the equally charismatic Karen Allen. Playing Indy's love interest, this isn't the usual clichéd damsel in distress who can't fend for herself. On top of this there's a remarkable performance by John Rhys-Davis, and unforgettable performances from both Paul Freeman and Ronald Lacey.


Steven Spielberg's direction is magnificent. This focused directing and the lavish cinematography are qualities rarely seen in contemporary adventure movies. I particularly loved the old school effects and the elaborate sets. With such gorgeous images on the screen for every second of the film's duration, it effectively moves from one memorable scene to the next.


The opening artefact hunt is still my favourite film opening of all time. Not to mention all the other memorable scenes - the bar fight, the plane scene, the snake pit, the truck chase, the ship battle, the final showdown...it's impossible to spot a dull second amongst the action and adventure. The outlandish stunts are a requirement for an adventure film of this calibre. The filmmakers deliver a never-ending supply.


The film is only made better by the accompanying exciting music by John Williams. The classic Indiana Jones theme is still my favourite movie theme of all time! The exhilarating action is only made better by the triumphant, invigorating music.


The special effects delightfully hold up even after all these years. With filmmaking technology forever advancing I am pleased and happy to see such terrific old school effects that still look mighty impressive.


When I was a youngster I remember watching Raiders of the Lost Ark on various occasions. The first three Indiana Jones films were an essential part of my childhood. Now that I've aged and matured I still love these original three films tremendously. This is unquestionably one of the best movies of all time! Followed by several sequels beginning with Indiana Jones and the Temple of Doom (this is actually a prequel).

Every filmmaker has to begin somewhere. For some directors, television ignited their infatuation with the art. For other directors, such as Steven Spielberg, a love for filmmaking ripened during childhood years when they helmed cheap, amateur home movies. Spielberg both wrote and directed Amblin' - this short film shot on 35mm on a budget of $15,000 in 1968. Although a mere 26 minutes in length, Amblin' brought Spielberg into the spotlight, and he became the youngest director in history to be signed to a long-term deal with a major Hollywood studio. Sid Sheinberg was the vice president of production for Universal's TV arm, and he viewed Spielberg's short. Spielberg was subsequently signed to a seven-year contract under the Television division of Universal. In later years Spielberg became the Hollywood director everyone now recognises him for, and he employed the title of Amblin' as a name for his film company - Amblin Entertainment.

The story concerns two hitchhikers (Levin, McMyler) who hook up in the middle of the desert in southern California, en route to the Pacific Coast. The film chronicles their chance meeting, their initial bond, and their journey to the paradisiacal beach as they develop into friends and lovers.

Story-wise, there isn't much to Amblin' - it simply conveys a straightforward love story using visuals and omnipresent acoustic guitar music instead of dialogue. Amblin' is essentially a prolonged montage showcasing the beautiful cinematography of Allen Daviau. Naturally, Spielberg went on to direct such blockbusters as Jurassic Park, Raiders of the Lost Ark and Jaws. Yet after visiting early efforts of Spielberg it reminds us that special effects and a colossal budget aren't as crucial as wonderful acting and a good (if slender) story.

Looking back at Spielberg's roots, it's easy to see why the director shot to big-time stardom. He handles the script (he wrote himself) with utter dexterity. The film flows naturally and fluidly, with his economic direction resulting in a valuably ponderous pace. It does linger unnecessarily on a few plot points, yet it's mesmerising to witness the cinematic techniques on offer - there are dark silhouettes against a white desert background, wide angles showcasing the stunning locales, and the actors continually registering expressions on their faces to convey their thoughts (rather than using heavy dialogue). Throughout the film the only words spoken are those in the title song (by October Country). As for the other music, there's soft acoustic guitar accompanied by beautifully rendered ambiance of the desert. In all honesty, not much actually transpires during the 26-minute running time. It probably appears to be an incoherent succession of random bonding scenes. It isn't much more than a montage (as stated previously), but at least it's a concise and beautiful montage.

Spielberg found Richard Levin working as a librarian in the Beverly Hills library. For the female hitchhiking companion, Pamela McMyler was discovered in the Academy Players directory. These two performers may have had little acting experience prior to Amblin', yet Spielberg has managed to get great performances.

Amblin' became a reality when Spielberg met aspiring producer Dennis Hoffman who agreed to finance the short film. Filming transpired over a few weeks in a soundstage and on various desert locations, with the final sequenced filmed outside Jack Palance's house in Malibu. On rough terrain and in punishing 105-degree heat, many of the unpaid crew left before filming was completed. Filming eventually wrapped in July 1968, with the premiere in December of the same year (it shared a double bill with Otto Preminger's Skidoo). Amblin' won several awards, and Spielberg received his contract at Universal.

All in all, Steven Spielberg's Amblin' is an interesting little flick certainly worth visiting for avid fans of the director. All aspiring filmmakers will learn a thing or two from this motion picture; primarily that simplicity can spawn beautiful results when in the right hands. I suggest YouTube would be the ideal location if you wish to see this gem.