| Movie | Rating | Review | Date | Your Rating | Match | |
|---|---|---|---|---|---|---|
| Full Metal Jacket - R | December 1, 2009 | N/A | ||||
| Rope - PG | December 1, 2009 | N/A | ||||
| The Lion King - G | December 1, 2009 | N/A | ||||
| Snatch - R | December 1, 2009 | N/A | ||||
| The Great Escape - Unrated | December 1, 2009 | N/A | ||||
| The Sixth Sense - PG-13 | December 1, 2009 | N/A | ||||
| Touch of Evil - PG-13 | December 1, 2009 | N/A | ||||
| Children of Men - R | December 1, 2009 | N/A | ||||
| Rear Window - PG | December 1, 2009 | N/A | ||||
| The Birds - PG-13 | December 1, 2009 | N/A | ||||
| The Wrong Man - Unrated | December 1, 2009 | N/A | ||||
| North by Northwest - Unrated |
''In the world of advertising, there's no such thing as a lie. There's only expedient exaggeration.'' A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive. Cary Grant: Roger O. Thornhill Alfred Hitchcock made North by Northwest at the height of his career and popularity, released 1959; his television show gave him the kind of exposure and face recognition usually reserved for only the biggest stars. Hitchcock always maintained that great films should also entertain, North by Northwest being presented here as our star witness to prove his assertion to be right on the money. Cary Grant plays Roger O. Thornhill as the slick Madison Avenue advertising man who is mistaken to be George Kaplin, a spy hot on the trail of Phillip Vandamm, played masterfully by James Mason. All we really know about Thornhill is the statement he makes to Eve Kendall (Eva Marie Saint) on the train from New York to Chicago that he has a mother, several bartenders and two ex-wives dependent upon his support. The "O" used to initial his middle name and his initials, equally have significance. These details are revealing and the scene is beautifully crafted; showing us the apparent emptiness of his life prior to this adventure. Ernst Lehman's script is loaded with these types of treasures throughout the story. If you're really not into excellent dialogue and clever acting and prefer that the story accelerate at a fast pace, this also is the adventure for you, as it has two of the most memorable action sequences in film; Referring to the crop dusting sequence and the finale on top of Mount Rushmore. Those are enough to put North by Northwest near the top of anyones must see list. Eve Kendall: Patience is a virtue. Roger Thornhill: So is breathing. Respect are also due to Leo G. Carroll in one of his best character roles as The Professor, who's humble appearance belies the fact that he is the one who is responsible for manipulating much of the action behind the scenes. A young Martin Landau, as Leonard, Vandamm's right hand man, shows us in the few scenes what a versatile actor he was. The music by the great Bernard Herrmann is one of the classic pieces that made him famous; beginning from the clever opening title sequence to it's thrilling conclusion. The film's intense pace takes the form of a dream, a person that loses control of his life and then transforms to the person he's mistaken for. Roger Thornhill, half by accident and half by his own will transforms to spy decoy George Kaplan. The board of government spy directors, led by the Professor, represents the forces that control destiny. They control both Eve Kendall's and Thornhill's fate. And they choose to dispatch with Thornhill altogether since he doesn't fit the general scheme of things. Thornhill gets entangled in a Kafka-esquire nightmare. Kendall, the femme fatale, is a government spy herself trying to uncover Vandamm by working closely on his side and being his lover. A Freudian labyrinth. If we view this movie in its historical context of 1959, we see that it was made in the middle of the Cold War, and much of the suspense is reliant upon the audience's reality of living with the knowledge that everything could end with the press of a button (I know this is too simplistic, but many people's perception at this point in history was just that). The Professor, Vandamm, Ms. Kendall, Leonard and others are Cold Soldiers, and it is Thornhill's misfortune to become swept up in it's intrigues; but our very great fortune to be able to get swept up with him and let Hitchcock, the Master of Suspense, be our guide in one of his masterworks. Roger Thornhill: I don't like the games you play, professor. The Professor: War is hell, Mr. Thornhill, even when it's a cold one. |
December 1, 2009 | N/A | |||
| The Women - PG-13 | December 1, 2009 | N/A | ||||
| The Women - Unrated | December 1, 2009 | N/A | ||||
| Where the Wild Things Are - PG | November 30, 2009 | N/A | ||||
| Apt Pupil - R | November 30, 2009 | N/A | ||||
| G-Force - PG | November 30, 2009 | N/A | ||||
| Bakjwi (Thirst) - R | November 29, 2009 | N/A | ||||
| Le Chant des Mariées (The Wedding Song) - Unrated | November 28, 2009 | N/A | ||||
| Metropolis - Unrated |
''There can be no understanding between the hand and the brain unless the heart acts as mediator.'' In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences. Gustav Fröhlich: Freder Brigitte Helm: Maria / The Robot A handful of stories and films will always be known for proving themselves against the proverbial test of time; making their mark in the pantheon of the most influential, memorable and near flawless crafted films in existence. Upon viewing in a contemporary context; even over 80 years after its initial release in 1927, the recognition of Metropolis; director Fritz Lang's masterpiece; among such timeless examples Metropolis is without a doubt included. The catalyst for all ensuing science fiction films and tremendously influential; even outside of the genre it essentially pioneered, the sheer imagination and vision behind Metropolis prove its indisputable quality decades after its time. A tremendously ambitious and controversial feat when first released, the political and thematic content riddling the film's impressively complex storyline are astounding; proving an early testament for the potential of big budget projects to resonate with strong thematic content as opposed to being simply entertaining. Taking notes and inspirations from Karl Marx (creator of Communist ideology; for those whom don't know), among other prominent schools of thought, politics, ideologies and philosophies. The revolutionary dystopian vision of a colony of workers rebelling against the alienated upper classes proves a daring and fiercely compelling vision relevant even to this day, without even pausing to realize this is a film made in Germany in the 1920s. Similarly, the film makes a particularly effective, futuristic science-fiction piece by proving frighteningly prophetic from grander themes of commodity culture to smaller touches; with ideas which would have seemed outlandish at the time such as video phones and machine men starting to become disconcerting realities. While parts of the original film are sadly lost or missing, as they are summed up by title cards in the same way dialogue was conveyed, the occasional lapse in pacing hardly distracts from the gripping and astonishingly powerful narrative. Similarly, the film's dynamic visual style is equally comendable, and the entire film captivates with a hypnotic, entrancing beauty. The expressionist art influenced futuristic sets and buildings and surprisingly advanced visual effects never fail to captivate, and the frequent moody lighting is an aesthetic delight. Sequences such as the opening scene of columns of repressed workers trudging desolately to work to Freder's cinematically innovative hallucination of death striking the city, the mad inventor Rotwang's construction of the iconic Machine Man to the allegorical tale of the tower of Babel prove utterly unforgettable, with Lang conjuring up a dramatic intensity essentially unparalleled in its time. Such seamless quality both technically and thematically has scarcely been glimpsed to such a degree since, and the film's incredible influence becomes increasingly clear in other works after viewing it. While the film is seldom praised for its acting, considering the expressionist conventions of over-exaggerated facial expressions and movement to express inner sentiments, the film comes as across as far less melodramatic than one might expect, though the distinctly different performance styles may prove unsettling or unintentionally comical to a contemporary audience. Gustav Fröhlich is a suitably engaging and charismatic lead as the young son of the city's founder who becomes increasingly disgusted with the harsh mistreatment of the working class denizens. As his distant father, Alfred Abel turns in a poignant performance as Frederson, founder of Metropolis, consumed by his own ambition to the point of losing touch with the world around him. Rudolf Klein-Rogge is unforgettable and enormously entertaining as twisted inventor Rotwang, setting the standard for countless mad scientist icons to follow. Similarly, Brigitte Helm is both luminous and horrifying in turn; portraying both the earnest figurehead for a working class resistance movement who attracts the attention of the impressionable Freder, and a demonic incarnation of herself portrayed by Rotwang's devious Machine Man. Visionary, innovative and desperately socially relevant, Lang's disturbing and captivating labour of love holds its own against the ages, proving nearly as staggeringly impressive an achievement in a current day context as its initial release over 80 years ago. Lavish and blindingly spectacular, dazzling set pieces and high production values, Metropolis rises above and stands testament to Fritz Lang's ambitious artistic visionary perceptions of how cinema could be used. Among classics such as 2001: A Space Oddysey, Blade Runner which came many years later; Fritz Lang's Metropolis is the true science fiction classic original. It also is another great insight into workings of our systems, society and why some work and some do not; in a classing system of extreme rich and poor. Fritz Lang's M; which followed in 1932, also dealt with some of the same issues concerning Metropolis. Stabs at the structure of society and the evils of the mob prove Unity is always above chaotic Hysteria. |
November 28, 2009 | N/A | |||
| Harry Brown - Unrated |
''He killed Leonard...What did you lot do? Nothing!'' An elderly ex-serviceman and widower looks to avenge his best friend's murder by doling out his own form of justice. Michael Caine: Harry Brown Michael Caine...a legend and veteran of film, producing, theater and class acting... Essentially he is the Clint Eastwood of England; and this baby Harry Brown is his swan song version of Torino. Caine's feats and talents cannot be measured merely by Oscar wins or money, but instead in how his East London accent and his honourable integrity convinces us in the flash of an eye that he has indeed been a quiet, foreboding presence. Harry Brown is a wonderful forum to demonstrate this unique skill. Harry Brown is set on an London estate where the teenage locals run the place not so much with an iron fist but a large collection of guns and a really unreasonable attitude. In the opening minutes; we watch the senseless shooting of a young mother and two hoodies on a moped type bike, are the culprits; but karma soon comes back to them, thus they are slammed into a thousand bloody pieces by a white van which gives us a glimmer of hope because for once we witness a bit of justice; albeit an extreme case of karmic justice. Yes, indeed, this film plays to our prejudices and fears. So much so, that after the piece concluded I wished all estates similar to this one portrayed in the film didn't exist. These little bastards live and breathe, and take advantage of our laws and tolerance; thus shown the police are sometimes powerless to intervene because they are restricted to laws and physical evidence. In fact, Harry Brown shows us a system where an old aged pensioner is actually doing a better job than the police could ever dream of doing. Harry is a retired Northern Ireland protecting marine; obviously giving him a unique set of skills and combat techniques. His killing instincts were indeed put to rest a long time ago, a decision made when he first met his wife; whom sadly passes away. However, Harry is forced to kill after his mate Lennie is murdered by the local chief hoodie and his cronies. Cocky and abusive when in a police cell they know that the law in this country is powerless; but thankfully they are the cancer and Harry is the antidote; he is the reaper. This is a powerful social stab on how the law of this land is run by politicians; how being tolerant has us terrified, petrified and literally tugging our balls off. The director may have placed the odd character here and there with a background of being sexually abused; he obviously wants us to stand up and don a baseball bat, crowbar, handgun etc and take to the streets vigilante mode; with furious anger for those who would poison and destroy his brothers. Director Daniel Barber and Gary Young's screenplay is a potent mixture. Scenes depict a memorable albeit terrifying drug dealer as Harry tries to purchase a gun, it shows violence possibly in an over the top form. Whereas, Gran Torino didn't have to use any conflict or visual violence to get it's point across Harry Brown never shies away from using gore, blood and a realistic array of grisly violence. Ironically the message does at times become slightly diluted; as to whether it sympathizes with the people it scrutinizes, criticizes the Police and the gaps in the Law, even a blow to the Irish as the main Hoodies uncle is shown to originate from Ireland which ironically is where Harry fought. Cinematic wise, this film is as tense as any thriller out there; realistic as any dark alley or rough estate you may unfortunately come across in the UK. Take Harry and his unrealistic situation out of the equation and you are left with a documentary on tenement living. It is brutal, merciless and without remorse. The real catch as always however, is one Sir Michael Caine, whom churns out yet another breath-takingly emotional performance as the pensioner who decides to take the law into his own hands. He provides the performance of a broken down man whose loneliness simply fuels his uncompromising violence against the criminals who plague his estate. While Emily Mortimer and Ben Drew also pull out strong performances from their closets. Mortimer plays Detective Frampton a rising up and coming woman in the Metropolitan Police force who chose to work on Brown's estate as she wishes to change it for the better without subverting the law, and Drew as Noel, a sadistic killer with no respect for those around him whom will happily inflict ruthless cruelty upon those who get in his way. While Harry Brown is a competent picture, its formulaic narrative structure doesn't lessen it's impact. Despite some wonderfully shot and tense sequences during the last twenty minutes of the film, the ending of the film has been done before granted and simply regurgitates other inspirations; but it does it so well. The violence was exhilarating, the performances from Caine and David Bradley sentimentally significant and the direction gritty and representative of today's modern muddled up society, which is there below the surface yet alot of us choose to ignore. |
November 28, 2009 | N/A | |||
| Moon - R |
''I hope life on Earth is everything you remember it to be...'' Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems. Sam Rockwell: Sam Bell Just two years ago I was immersed, impressed and tantalized by Danny Boyle's shimmering spectacle Sunshine which provided human drama and resulted in being an intense thrill of a rollercoaster. Two years later Duncan Jones releases Moon; a low budget, human drama, set out in space featuring Sam Rockwell(Frost/Nixon); whom happens to be one of the under-rated actors in film today. All of these attributes should mix perfectly to create a film that's highly emotive, beautifully acted and a sight to behold but is this moon landing a giant leap, or just a small step? An astronaut miner extracting the precious moon gas that promises to reverse the Earth's energy crisis nears the end of his three-year contract; makes an ominous discovery in this psychological sci-fi film; also featuring the voice of Kevin Spacey as computer robot assistant GERTY. For three long years, Sam Bell has dutifully harvested Helium 3 for Lunar; a company that claims it holds the key to solving mankind's energy crisis. As Sam's contract comes to a close, the lonely astronaut contemplates returning to his wife and daughter down on Earth, where he will retire early and attempt to make up for lost time. His work on the Selene moon base has been enlightening; the solitude helping him to reflect on the past and overcome some serious anger issues...but the isolation is starting to make Sam uneasy. With only two weeks to go before he begins his journey back to Earth, Sam starts feeling strange: he's having surreal visions, and hearing disjointed sounds. Let's state the obvious: Moon looks sublime. Similarly to Danny Boyles Sunshine, this low budget spectacle uses effects to enhance the story rather than eclipse it. Mix with some harrowing shots of the environment and you've got a film that dually looks fantastic and, thanks to Clint Mansell's(The man behind the scores of Requiem for a Dream & The Fountain) superb score, Moon sounds great, and unlike the moon itself atmospheric. Sam Rockwell is a versatile actor, his range is absolutely phenomenal. One moment he is relaxed and friendly the next he's ready to pummel you into submission in a fit of angry temperament...but let's not spoilt the faceted performance. This is an Oscar worthy performance from Sam! My only major discrepancy with Moon was with Kevin Spacey as GERTY(A distant relative to HAL maybe from 2001?) whom does an exquisite job, but sometimes distracts you from the realism that the film strives for. However, all of these elements merge; displaying some fantastic glossy sci-fi. It's the story and the direction that leads me to believe that this is among the greatest films of 2009. The story is told at a steady pace. The film never compromises and the pacing feels organic, and its this slow pacing that helps generate that feeling of isolation. The filmmakers cleverly, never relent from showing you a deserted hallway; calling it eerie or uncomfortable is a severe understatement. So much so that once the film decided to give us answers you're so involved they seem personal not just to Sam but to us the audience as well. Moon never strays from pulling on your emotions; a phone call to earth makes for one of the most emotional moments of the piece. You might not contemplate that Moon is indeed the sun of this year, indeed Sci-fi is not everyones cup of tea...yet Moon is addictive to any audience; simply because it is not just a sci-fi piece. It's a drama and a story about moralistic questioning...Is cloning humane? or cruel? Is isolation or being alone maddening in time? Can robots have empathy and friendship with humans? Moon is a long list of questions and deep discussion. Overall, Moon is a faceted diamond in so many regards; it replicates Si-Fi in a way not seen since Alien, Blade Runner or 2001: A Space Odyssey. The direction is methodical, clinically precise mixed seamlessly with the multitude performance of Sam Rockwell. An eerie, disturbing and moving story, but not without occasional bursts of humour(''I'm cold''...''you're sitting under the fridge''), Moon is a refreshing antidote to the unintelligent action-orientated futuristic pieces which has dominated cinemas in recent years. For these reasons alone Moon takes it's place, as one of the highlights and deepest films/stories of 2009. Simply put: Moon is a radioactive tampon, which will Rockwell your World, so definitely check it out. |
November 27, 2009 | N/A | |||
| United 93 - R |
''We have to do something, they are not going to land this plane.'' A real time account of the events on United Flight 93, one of the planes hijacked on 9/11 that crashed near Shanksville, Pennsylvania when passengers foiled the terrorist plot. Paul Greengrass: Director of Flight 93. Paul Greengrass's bold dramatization of the horrific events of September 11th 2001 was one of the biggest undertakings taken in cinema in the first few years of 21st century. The importance of the event was undeniable, but the emotions which it had naturally aroused in those personally involved in the story and the vast majority of the world's public made this subject incredibly delicate. However, with United 93, Greengrass met the many obstacles that came with the project; thus establishing himself as one of the most talented and important filmmakers out there. The power of United 93 comes almost entirely from the genius of Greengrass; the script, the style and his execution of a brilliant and sensitive piece of film-making. The film is not a simple documentary drama. It is a true to the events but takes the steps necessary to turn it in to a story with intelligent perception of what happened and helps us connect with all the people involved; which isn't just everyone on the plane. Bravely, however, this film takes on the subject of the hijackers without reducing them to inhuman psychopaths but portrays them as misguided human beings. Before one boards flight 93 to carry out their terrible plan; he uses his phone and simply says "I love you"; a touch of genuine class from Greengrass whom shows us the tragic humanity of the hijackers yet cleverly never sides or goes against them; this is a genuine account of what happened from various sources. Starring many unknowns, and even some of the real people involved at the airport, including Lewis Alsamari as Saeed Al Ghamdi, J.J. Johnson as Captain Jason Dahl, Gary Commock as First Officer LeRoy Homer, Trish Gates as Sandra Bradshaw, Polly Adams as Deborah Welsh, Cheyenne Jackson as Mark Bingham, Opal Alladin as CeeCee Lyles, Starla Benford as Wanda Anita Green, Nancy McDoniel as Lorraine G. Bay and David Alan Basche as Todd Beamer. The real events inside the plane will never be known, but the authentic feeling aroused in United 93, from the phone calls made by the doomed passengers, is convincing, gripping, moving and dignified, a magnificent drama. It was nominated the Oscar for Best Editing, and it won the BAFTAs for Best Editing and the David Lean Award for Direction for Greengrass, and it was nominated for the Alexander Korda Award for Best British Film, Best Cinematography, Best Original Screenplay and Best Sound. Due to Greengrass's sensitive handling of the story it is not hard to see why it won so many Awards and Nominations, he is to be praised (he only proceeded with the film once he had gained the consent of all the families of United 93, whom co-operated with his research),but his realization of the story on screen is the real triumph. His hand-held style, which is exhilarating in the Bourne series; a style he contrasts with the scenes on the ground where the chaos is viewed through a far more stable and controlled environment. The sheer lack of order and control that occurred on the ground that day with the air-traffic controllers and the federal government is brought to our eyes effectively; with some of the crucial real life figures re-enacting what happened that day. All of this would still have been rather pointless had it not been for the power of the story being told. The courage of the passengers is incredibly powerful and a testament to the human spirit which seemed so absent that day. The final part of the film in which the passengers fight back happens is a glorious piece of cinema. Moving, chilling, haunting; it is an absolutely perfect ending to an important reminder and recording of events. |
November 27, 2009 | N/A | |||
| Twelve Monkeys (12 Monkeys) - R |
''There's the television. It's all right there - all right there. Look, listen, kneel, pray. Commercials! We're not productive anymore. We don't make things anymore. It's all automated. What are we *for* then? We're consumers, Jim. Yeah. Okay, okay. Buy a lot of stuff, you're a good citizen. But if you don't buy a lot of stuff, if you don't, what are you then, I ask you? What? Mentally *ill*. Fact, Jim, fact - if you don't buy things - toilet paper, new cars, computerized yo-yos, electrically-operated sexual devices, stereo systems with brain-implanted headphones, screwdrivers with miniature built-in radar devices, voice-activated computers...'' In a future world devastated by disease, a convict, James Cole is sent back in time to gather information about the man-made virus that wiped out most of humanity on the planet. Bruce Willis: James Cole Madeleine Stowe: Kathryn Railly Brad Pitt: Jeffrey Goines Terry Gilliam's twisted tale of a virus/illness destroying all but a handful of people across the Planet, forcing them to move beneath the surface while one man is sent back in time to gather information about the causes of said illness. Haunting, mesmerizing, and highly stylized film that also boasts one of Bruce Willis' best performances ever. What sets 12 Monkeys apart from most time-travel/sci-fi films is that Bruce's character actually has to cope with the psychological effects of time-travel, that is, not knowing what reality is actually happening, the place that the time-traveler comes from or goes to is in question. Also, the film recognizes that things that have past cannot be altered and that the prevention of a cataclysmic event, in this case the release of said virus, cannot be stopped or changed. As Willis asserts "It's already happened," while he's in a mental hospital, the major dilemma the film trudges into is not a trite, overdone plot to save the world; instead it's Willis' inner struggle to simply survive himself. It's a fresh, innovative concept, and it works beautifully thanks to a well written script by Peoples and Gilliam's unique brand of dementia. Besides this, 12 Monkey's storytelling is totally non-linear and instead opts to distort and bend the way the story is told skillfully incorporating a bevy of different time sequences: flashbacks, dreams, memories, the present, the past, the future, and even a scene that is lifted out of Hitchcock's Vertigo. All serve to envelop the viewer into its disturbing cacophony of madness and futility. Visually, Terry Gilliam is a master of desolate umbrage and shadow rivaling Tim Burton in his strikingly despondent scenery and imagery. With cold, wide, and immersing cinematography, Gilliam plunges into the colourless surroundings and darkness of his characters. The scenes are often bathed in a strangely antiseptic, dead white and help serve as a contrast to the often veering-on-madness scenes and characters. Performance-wise, Brad Pitt steals most scenes, filling them with a loony, off-the-wall performance that deservedly earned him an Oscar nomination. As mentioned, Bruce Willis gives a mighty performance of his career, not reverting to his heroic cliches and cardboard hero roles and instead portraying Cole as a simple, poignant, tragic everyman. Equally good is Madeline Stowe as Willis' psychologist. She holds her own, injecting her character with both wild energy and strength as she collapses under the weight of what she comes to believe is a false religion. Gilliam's expert, overwhelming, and complex handling of what could have been a routine action/sci-fi film, makes 12 Monkeys a compelling vision of a nightmarish, futuristic landscape that has not been since Gilliam's Brazil. Its rich, well-thought out, intricate storyline along with bravura performances from the entire cast and its brooding, bleak cinematography make it a masterpiece of madness that spirals into one hell of a looped paradox. The future is history. |
November 25, 2009 | N/A | |||
| The Lord of the Rings - The Return of the King - PG-13 |
''I give hope to men. I keep none for myself.'' The former Fellowship of the Ring prepare for the final battle for Middle Earth, while Frodo & Sam approach Mount Doom to destroy the One Ring. Viggo Mortensen: Aragorn Return of the King asserts itself as the final and best of the Rings Trilogy. The Lord of the Rings trilogy as a whole became the most nominated film series in Academy Award history with 30 nominations, surpassing both the Godfather trilogy (28) and the Star Wars franchise(21). It broke another record by winning all the Oscars for which it was nominated; including Best Picture, and Best Director(11 out of 11). The previous record was nine out of nine by The Last Emperor(1987) and nine out of nine by Gigi(1958). Also the third of only three films to win 11 Academy Awards, including Best Picture. I recall seeing it at the cinema when it first was released, then seeing three more times because of the greatness and inspiration it provides. Being a fan of the book trilogy Lord of the Rings which I read many years ago when I was 14, I did have some minor disappointments at Saruman being absent from the theatrical version and others; including certain Witch King scenes and The Mouth Of Sauron at the Black Gate which I loved in the book. Despite these missing from the Theatrical version, Return of the King had me glued to the screen for its three hour duration; the reasons why?, because in essence Return of the King has so much...majestic set pieces, beautiful landscapes, perfect costumes, dazzling earthy effects, deeply portrayed characters and wonderful storytelling. Similarly to it's predecessor The Two Towers; we are treated to separated characters; on one side it flicks to Sam, Frodo and Smeagol as they approach Mordor and Mount Doom then back to Aragorn, Gimli and Legolas trekking towards the Paths of the Dead and preparing for eminent battle. But Return of the King Goes one step further than it's prequels, because then we also have all these other pivotal characters; Gandalf and Pippin at the White City, in all it's magnificence with the maddened Denethor. Theoden and Eomer preparing to help Gondor from the descending armies of darkness. The secretive Eowyn with Merry going to Gondor's aid, even though they are not permitted too. Return Of the King gives so much detail and luscious fantasy and story before we even come to the battle scenes its a great film. Chuck in the battle at the White City, the final climactic onslaught at the Black Gate and the powerful scene where Sam carries Frodo up Mount Doom showing the powerful bond of friendship and vigor, bravery and compassion, then what you have is not only a film which is great but one that is the definition of what can only be described as close to perfection. ''Courage, Merry, courage for our friends.'' The musical score retains its beauty, elegance and power that Fellowship of the Ring and The Two Towers had; Quite simply Howard Shore has made a soundtrack and score on all three films that has unrivaled beauty and depth, that is essentially another invisible character among the cast like any wearer of the ring. When you hear Howard Shore on any Lord of the Rings film, it's like hearing soothing, blaring, powerful, emotional tones from heaven. The score simply is THAT perfect. At this point of the third book or film, everyone has come to know and love all of the characters and formed emotional ties; thus the stakes have become tremendously high for the characters and this makes viewing even more exciting and enriching. Kingdoms are at their knees, and the only two characters who can save Middle Earth are gradually becoming weaker and weaker. The tension was very high and I can honestly say that out of all 3, this was the only one that had me on the edge of my seat. There were many memorable scenes (one of my favourites including the part with the Shelob; An interesting fact; Peter Jackson is arachnophobic and based the Shelob design on the types of spiders he feared the most.)that made this the classic that it is sure to stay for decades to come. ''Hold your ground, hold your ground! Sons of Gondor, of Rohan, my brothers! I see in your eyes the same fear that would take the heart of me. A day may come when the courage of men fails, when we forsake our friends and break all bonds of fellowship, but it is not this day. An hour of woes and shattered shields, when the age of men comes crashing down! But it is not this day! This day we fight! By all that you hold dear on this good Earth, I bid you stand, Men of the West!'' This is the longest of the series, mostly because of the ending that seems to last, albeit slightly warped from the book (The Book had a Shire incident with Saruman at its peak). This was still a good ending, a feel good conclusion; and it allows us to see why Frodo did what he chose to do effectively. He, and us the audience, have gone through an incredible ordeal and I think we needed that 20 minute linger. When the battle is over, and the celebrations have ended, there is a sad emptiness felt. The films spanned over 3 years, the filming for the trilogy nearly 10 years, as all films were shot simultaneously together. ''That's for Frodo! And for the Shire! And that's for my old Gaffer!'' For me no film or indeed book, can never be too long or too short, and rarely when you get a film as visionary as Return of the King do you want it to end. I know I surely didn't. It's magical and mesmerizing; be it a moving scene with Ian Mckellan and Billy Boyd preparing for fighting at Minas Tirith or Elijah Wood and Sean Astin struggling with the Ring's evil resonance, this film is in Gollums words: very precious. ''Home is behind, the world ahead... And there are many paths to tread. Through shadow, to the edge of night, until the stars are all alight... Mist and shadow, cloud and shade, all shall fade... all... shall... fade...'' |
November 25, 2009 | N/A |
5973 ratings
5688 reviews
