Siarra's Talk

Fireworks (Hana-bi)

An ex cop tries to spend time with his dying wife during her final days, but a Yakuza loan shark refuses to leave him in peace. A typically understated marriage of violence and poetry from Beat Takeshi, Hana Bi examines loss and mortality in a deeply personal way. It shares many of the themes of Sonatine, but is not as brutally nihilistic; there is much warmth in the often wordless scenes with his wife which have far more humanity than the contrived schmaltz we are used to from most mainstream film making. Takeshi's laconic persona is taken to the extreme in this film as he silently deals with the loss of his child, his wife's illness and his guilt over his suicidal ex-partner's crippling injury, although he still manages to find humour with the use of some oddball supporting characters. In other words another typically brilliant and artful Beat Takeshi film.

Blood Diamond

A fisherman caught up in the civil war of Sierra Leone reluctanctly teams up with an amoral smuggler to retrieve a precious stone in the hope that it will secure freedom for his family. Edward Zwick has made a career of making worthy adventure-with-a-message movies which have tended to be a cut above the usual Hollwood action blockbuster fodder, and Blood Diamond is very much in this tradition. Rather than a deeply insightful analysis of the political situation, it is more of a straight action adventure that uses the conflict as a colourful backdrop to the story. Not that it doesn't have any points to make; it highlights the cynical complicity of the West in the conflict diamond trade, and the "politics" of the warring factions whose ideologies extend no further than greedy and corrupt self interest. Zwick's penchant for dewy eyed sentimentality does rear its head towards the end of the film, but no more so than most other films of its type; personally my favourite moment was when Hounsou wordlessly eyed the absurdly ostentatious bauble that has been the cause of all his woes, destined for the necks of the idle rich in a jewelry store window. Not in the same league as the likes of The Killing Fields, but if you want something more in the way of rousing adventure rather than emotionally harrowing, this is a fine choice.

Gone Baby Gone

The aunt of a young girl who goes missing hires two local private detectives to find her amidst the usual accompanying media frenzy. Gone Baby Gone was directed and co-written by Ben Affleck on his debut behind the camera but please don't let that put you off! It's actually one of the most refreshingly adult and well-written cop thrillers in recent memory. The story felt to me almost like L.A. Confidential done in the style of TV series The Wire, in that there is very little in the way of moralistic black and whites, all set in a ghetto-like environment with the associated colourful yet believable language and characters. It's a film that actually has something to say, examining questions of the personal sense of right and wrong and the cynical media hype machine milking such incidents for all their worth for its own gain. Of course having such superb acting talent involved certainly doesn't hurt, Affleck, Freeman and in particular Ed Harris are are excellent and Casey's brother shows an excellent eye in his surprisingly mature direction. It's not perfect; the story is perhaps a little too convoluted, I myself feeling that there was one too many endings for its own good, but aside from that there is very little to find fault with. One of the most accomplished directorial debuts I have seen in years, and all this from the star of Gigli! Who would've dared to think...?

Gone Baby Gone

The aunt of a young girl who goes missing hires two local private detectives to find her amidst the usual accompanying media frenzy. Gone Baby Gone was directed and co-written by Ben Affleck on his debut behind the camera but please don't let that put you off! It's actually one of the most refreshingly adult and well-written cop thrillers in recent memory. The story felt to me almost like L.A. Confidential done in the style of TV series The Wire, in that there is very little in the way of moralistic black and whites, all set in a ghetto-like environment with the associated colourful yet believable language and characters. It's a film that actually has something to say, examining questions of the personal sense of right and wrong and the cynical media hype machine milking such incidents for all their worth for its own gain. Of course having such superb acting talent involved certainly doesn't hurt, Affleck, Freeman and in particular Ed Harris are are excellent and Casey's brother shows an excellent eye in his surprisingly mature direction. It's not perfect; the story is perhaps a little too convoluted, I myself feeling that there was one too many endings for its own good, but aside from that there is very little to find fault with. One of the most accomplished directorial debuts I have seen in years, and all this from the star of Gigli! Who would've dared to think...?

Gone Baby Gone

The aunt of a young girl who goes missing hires two local private detectives to find her amidst the usual accompanying media frenzy. Gone Baby Gone was directed and co-written by Ben Affleck on his debut behind the camera but please don't let that put you off! It's actually one of the most refreshingly adult and well-written cop thrillers in recent memory. The story felt to me almost like L.A. Confidential done in the style of TV series The Wire, in that there is very little in the way of moralistic black and whites, all set in a ghetto-like environment with the associated colourful yet believable language and characters. It's a film that actually has something to say, examining questions of the personal sense of right and wrong and the cynical media hype machine milking such incidents for all their worth for its own gain. Of course having such superb acting talent involved certainly doesn't hurt, Affleck, Freeman and in particular Ed Harris are are excellent and Casey's brother shows an excellent eye in his surprisingly mature direction. It's not perfect; the story is perhaps a little too convoluted, I myself feeling that there was one too many endings for its own good, but aside from that there is very little to find fault with. One of the most accomplished directorial debuts I have seen in years, and all this from the star of Gigli! Who would've dared to think...?

Destry Rides Again

When the sheriff of a corrupt frontier town is murdered and replaced with the town drunk, the man calls on the services of the son of a legendary law man, only to find that he is a pacifist. James Stewart is at his very best for this, one of his defining roles. His easy going charm and integrity are a perfect foil for Marlene Dietrich's feisty music hall girl (so brilliantly parodied by Madeline Kahn in Blazing Saddles) and they have fantastic chemistry together; the cat-fight scene is pure comedy gold. Essentially a story about standing by your principles no matter what the provocation, all the characters are impossible to dislike, with some great comic relief provided by a quality supporting cast. Consistently funny with a timeless story of a hero who refuses to resort to violence in the face of adversity, this is one of my all time favourites and a true classic from the golden age.

The Killing

Fresh out of prison, a career criminal cooks up an ingenious scheme to rob a racetrack. An early film from Stanley Kubrick, and yet another masterclass. He takes to the visual trappings of Film Noir and creates one of the most efficiently told and tautly directed heist films ever made. Sterling Hayden is perfect as the straight-talking, street-wise mastermind, as is Marie Windsor's Machiavellian femme fatale who twists doomed sap Elisha Cook Jr round her little finger. So much of this film has influenced some of the best directing talent working today that it still feels remarkably contemporary; Tarantino owes much to the over-lapping timeline in particular, and the mix of off beat characters, violent crime and cruel twists of fate is straight out of a Cohen brothers movie (Vince Edwards actually looks the spit of Peter Stormare in this film!) In fact the only element that dates it is the newsreel style voice over, although it does help fit the pieces of puzzle together quite well. Johnny Clay was a brilliant character whom I would have liked to have learned more about, to the point where you are almost sorry to see him caught. But wishing the film was longer is hardly the most damning criticism! Is there any genre Kubrick couldn't do?

Stalag 17

When a self-serving operator in a WWII prison camp is suspected of collaboration with the enemy, he is forced to uncover the true culprit. Another of Billy Wilder's cynical classics, there is a lot more humour in the material than you would think. In fact it is often so broad it can resemble an extended episode of Sgt. Bilko, full of fast paced wise-cracking and army camaraderie. It is Holden's character of course that provides the real drama, and he plays it pitch perfectly. Unlike most prisoner of war films that are full of stiff upper lipped heroics, his cynical attitude never wavers and the sharp, witty dialogue makes for some fine black comedy. Easily one of the best examples of the genre.

Run Lola Run (Lola rennt)

A young woman receives a phone call from her boyfriend telling her that if he doesn't get 100,000 Deutchmarks within 20 minutes he's a dead man. It tells of the consequences of the phone call in 20 minutes of real time three times over, each containing a slightly differing timeline, thus showing how minor incidents or coincidence can have a massive knock on effect to not only your life, but those around you. Run Lola Run is very much a product of its time; the techno soundtrack, grunge fashion and fascination with the mathematics of probability (ie "the butterfly effect") all reek of the 1990s, but Run Lola Run still feels strangely fresh, probably because of its brisk, no-nonsense pace and 75 minute running time meaning it never gets too caught up in pretentious navel gazing. I could have lived without some of the directorial affectations that made it feel a little too much like a music video in places, and the coincidences are of course extremely unlikely, but the urban crime element gives it a Luc Besson-esque flavour that makes for an entertaining and original experience.

Lat sau san taam (Hard-Boiled)

A renegade cop teams up with an undercover agent to bring down a gun runner with a massive arms cache hidden in a local hospital. John Woo is pretty useless when it comes to anything but action, so it comes as little surprise that his best film by far includes very little else. And action it has in spades! The now familiar tough guy cop clad in sunglasses and duster coat, leaping through the air in slow motion, twin pistols blazing has now passed into cliche territory, but Woo invented it. Woo's artistic take on action influenced everyone from James Cameron to the Wachowski brothers and Robert Rodriguez would probably be gainfully employed behind the counter of the nearest Taco Bell without this film. The action is non-stop and absurdly over the top, and if it weren't it wouldn't have worked half as well. It's an exploitation flick cunningly disguised as a cop thriller, and the combination of brilliantly choreographed violence (the extended takes of the hospital shoot out in particular) and super-cool leads makes for an unpretentious, action packed blast. The birth of the modern action movie.

Unforgiven

An ex-gunslinger comes out of retirement to collect the bounty on a pair of cowpokes who disfigured a young prostitute. Clint Eastwood directs and stars in a deconstruction of the myth of the old west that examines the kind of man who would exist in a society which provides mean drunks and arrogant, prideful boys with lethal weapons. Saul Rubinek's author of the romanticized versions of the stories provides the eyes through which the myths are dispelled as Gene Hackman reveals the truth behind them. But even Little Bill, himself little more than a brutal thug with delusions of grandeur, revels in his own exploits and it is only Eastwood's reformed killer who shows any shame or wish for redemption for his past actions. In the hostile environment of the American west it is not the most noble or even brave who thrive, but the most cold-blooded and the abilities of a gunslinger could be measured by something as arbitrary as the standard of his eyesight. Also containing comments on the gleeful pleasure the media glean from the violence of others and the consequences of murder, the intelligent, insightful script combines with masterful performances by some of the best actors of their generation to form one of the best westerns ever made and one of the high points of Eastwood's long career.

Casablanca

Wartime cafe owner Humphrey Bogart's life is turned upside down when the woman who broke his heart walks into his bar with her husband, a fugitive from the Nazis, looking for an escape to America. This is one of those films the phrase "they don't make 'em like that anymore" was invented for. At its core it is a propaganda film made to encourage the American public to join the fight against the Nazis, but it is far from the usual heavy handed flag waver. It skillfully interweaves the patriotic message with political intrigue, wartime heroics and romance with a script full of wit and sophistication. The cast are all pretty much faultless, but it is the uneasy friendship between Bogart and the brilliant Claude Rains which makes the film, and their cynical interplay and banter is a joy to behold. Beautifully shot with so many unforgettable lines, this film consistently features in lists of the top 10 of greatest movies ever made, and rightly so.

Seven (Se7en)

A retiring detective and his young successor investigate a series of bizarre murders based on the seven deadly sins. The lukewarm reception for David Fincher's debut Alien 3 resulted in most writing him off as another style over substance hack from the MTV generation, but boy did he learn from his mistakes. No-one was expecting his follow up to be much of interest; let alone a virtual modern masterpiece. Fincher had clearly been studying the stylistic hallmarks of Ridley Scott, and the dark, brooding atmosphere crossed with artistic visuals are very much in his tradition. Although the formula of world-weary educated gentleman cop teamed up with a young hot head is hardly an original one, excellent performances and intelligent writing steer the material clear of cliche, and the imagery of the grotesque never descends into unnecessary gore or sensationalism. Complimented by a suitably claustrophobic soundtrack and a brilliantly unpredictable plot twist, I struggle to see how this film could have been any better. In the absurdly overcrowded marketplace of the serial killer movie, this stands head and shoulders above the rest as the very, very best of the genre. And yes, that includes the over-rated Silence Of The Lambs.

Once Upon a Time in the West (C'era una volta il West)

A newlywed arrives to find her adoptive family murdered and makes an alliance with a bandit and a mysterious drifter to unite against their killer. Sergio Leone's "dance of death" is probably his most artistic film; what doesn't happen on screen is just as important as what does. It is almost an examination of a difference in the mindset of the sexes. The only female protagonist, played by Claudia Cardinale, is the only one who truly embraces life, and is willing to do whatever it takes to survive. Robards' bandit, Bronson's revenge driven gunman and Fonda's steely eyed assassin not only expect death, but almost welcome it. This film is not about a bullet riddled slam bang finale; it's about a series of events and circumstances leading up to a single point in time, and is all the more powerful for it. Reeking atmosphere and tension, Leone's visuals have never been better and Fonda who is the true central character of the film is perfectly cast against type, his piercing blue eyes almost the opposite of Bronson's emotionless slits. The soundtrack is perhaps a little heavy handed in places and the 2hr 40min running time may seem a little daunting to some, but it's the perfect western for people who prefer them arthouse rather than action packed.

Key Largo

A ruthless mobster and his gang hold a group of hotel guests hostage during a hurricane on the Florida Keys. Another Noir from John (The Maltese Falcon) Huston featuring the classic pairing of Bogart and Bacall, this film does not quite live up to the promise of these ingredients, but that's a hell of a pedigree to live up to. Making Bogart a do-gooder war hero and Bacall a doting widow takes the edge off their usual cynical, hard-bitten sparring and this overly wholesome approach means that the crackling chemistry they have shown in their other films is compromised. Robinson and Claire Trevor as his soused moll provide the best moments, and his sneering diatribes against Bogie's moral stand are great. The hurricane enclosed setting makes for a nice pressure cooker environment in which the protagonists show their true colours and puts an interesting spin on the usual Noir ingredients. Maybe not the most original or inventive examples of the genre and it misses the firecracker dialogue of the likes of The Maltese Falcon, but it is still effective, atmospheric and constantly entertaining.

On the Waterfront

A longshoreman and ex-boxer has a crisis of conscience when the gangsters who control the union murder a fellow dock worker. On The Waterfront is one of those films that is almost famous for being famous. Nearly everyone can recite Brando's most quoted line, but this infamy means its reputation precedes it which can obscure just how good a film is. And this is not just a good film, it's an incredible one. Brando's powerhouse performance has also overshadowed those of the other members of the cast, but Lee J. Cobb, Rod Steiger and Eva Marie Saint are all worth far more than just an honourable mention, and the classic "I coulda been a contender"scene is just one amongst many memorable and powerful moments; Karl Malden's speech that provokes Terry's change of heart, the discovery of his brother, the confession to Edie in the boatyard...the list goes on. Examinig many themes in a multi-layered story of corruption, redemption and one man standing up for what is right, On The Waterfront is one of the true greats of American cinema.

Wanted

A downtrodden working stiff who wishes he had more from life discovers one day that he is a super-powered assassin who can bend the laws of physics. Hmmm...I'm pretty sure I've heard this somewhere before. Not to mention the "phew it was only a dream...oh wait, no it wasn't!" scene and the beautiful stranger who becomes his personal Yoda. But as derivative the story is (I'm pretty sure the blame for that can be laid at the door of the graphic novel, as can the ludicrous "loom of fate" idea) it's actually really well executed. It has just the right mix of tongue in cheek humour, slick visuals and outrageous stunts, and McAvoy works as both nerdish nobody and action hero. Jolie also brings the right mix of edginess and exotic beauty and Freeman does what he does best. The predictable plot is as ever the weak point and the character interaction rather limited, but at least it tries to throw in some interesting twists and the breathless pace keeps boredom well and truly at bay. In the end this is an unoriginal but exciting and fun superhero movie and one of the better Hollywood blockbusters of recent years.

The Big Sleep

Private eye Philip Marlowe is hired to investigate the blackmail of a young heiress but when the corpses start to pile up, he realises that the case has more than meets the eye. I love Film Noir, and Bogart for me is the best of its leading men. Bogart and Bacall have one of the greatest screen partnerships and Chandler was one of the best exponents of the art of the detective story. The plot has more twists and turns than a sidewinder that's swallowed a corkscrew, it involves a femme fatale who could melt a polar ice cap and dialogue that's more hard boiled than beelzebub's breakfast egg. It just doesn't get any better than this. The greatest Noir ever made.

Pursued

Robert Mitchum plays a rancher who has been stalked since childhood by a one armed man with a grudge, without ever knowing why.The themes of twisted psychology, sibling rivalry, jealousy and revenge presented by shadow steeped photography and narrated by Mitchum who is on top form as the hapless anti-hero who is unwillingly forced to kill by circumstances beyond his control all point to the same thing; I don't care how many stetsons or six guns are on show, this IS Film Noir. The intelligent character driven plot is all very Freudian, which makes for a very unusual hybrid of genres. It looks fantastic and has a solid supporting cast, the pick of which is Judith Anderson as the matriarch whose guilty secret lies at the core of the events Mitchum finds himself caught up in. I'd never heard of this one before, and I'm glad I stumbled upon it. If you like Noir, westerns, or classic film in general, it's worth hunting down a copy.

Vertigo

An emotionally shattered ex-detective becomes obsessed with a young woman who resembles the love he failed to prevent from committing suicide in one of Alfred Hitchcock's great psychological thrillers. James Stewart gives one of his most intense performances as the disturbed acrophobic, and although not really known for her thespian skills, the lovely Kim Novak is actually very convincing in her dual roles as haunted heiress and stalkee. It's one of Hitch's most visually creative films with some very clever and subtle visual tricks and uses of shadow and lighting complimented by a wonderfully other-worldly soundtrack. Mixing elements of psychology, obsession, the supernatural and an extremely clever noir-style plot this is a unique film and one of the true classics. The climax is unforgettable.