Dragon's Talk

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.

The White Dragon

This is... its's... so... difficult to rate it and describe it and decide whether you like it or not... It's just an odd movie. But not "Eraserhead" odd, just odd in the sense that the movie ends and you don't know what did it try to be.
It starts with some great fighting scenes, with people flying and those magnificent swords sounds, and you think "oh! it's going to be an awesome kung-fu film!", but then you see some really stupid jokes and you are like "what the hell is going on here?" And just when it comes the moment in which you say "all right, apparently, I'm watching a comedy", a very moving story emerges and it actually touches you! And at the same time it's a pretty romantic film.
I don't know. I liked it. In spite of its ambition of trying to embrace so many genres and ends up not fullfilling any; I thought it was a nice movie. The story was nice, the fighting scenes were really good, the music is fantastic, and in general it's a very entertaining movie.

Alone with Her

Oh My God!!!!
Ok, I'll try to write a more "professional" review: A sick man who likes filming girls with his camera gets obsessed with one woman and hides cameras in her house, at the same time he stalks her and tries to become her friend.
That's it. Now....
This is such a bad movie!!! I don't remember why I rated it as "want to see". Maybe because the cover is very well done. It looks like a creepy film, or at least, like thriller. Well, I have news: it's not creepy, it's no thriller, there isn't even a little suspense. The scenes that are suposed to work for that are just not well achieved. The performances are not good. The way in which it's shot is... just ridiculous!!! I mean, it never makes up its mind to decide whether the movie will be shown through a regular filming camera, through the guy's first person camera or through the little ones hidden in the girl's house! And BTW: how many cameras did the guy put there???? that's just incoherent! They seem to be a million!!
Anyway, this is just a very bad film. Just that.
Oh! and flixster: where do you get the info about movies from? You don't even have the main actress in the cast.

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.

Mad Max 2 (The Road Warrior)

Mad Max 2 is one of that rarest of breeds; a sequel that actually surpasses the original. Like Desperado and Evil Dead 2, it is a big budget reinvention of the previous film rather than a true sequel per se. Mad Max was a powerful if flawed film that never quite lived up to the promise of its explosive action sequences. Once again, the film opens with an exhilarating hi-octane chase as Gibson's post apocalyptic man with no name stumbles upon an oasis of civilization under siege from a group of road predators. The film almost resembles a zombie film, except in this future where gasoline and ammunition are worth more than human life, the human race are being preyed upon not by undead monsters, but other human beings. The Australian outback makes a beautiful but believably desolate future wasteland and Gibson revisiting the part that made him a star has never equalled the grit and charisma of his performance here. The peripheral characters don't get much of a look in and the dialogue is suitably minimal, setting the stage for the true star of the show; the action. The brilliant production design which creates a similarly believable patchwork of scavenged technology became the blueprint for post apocalyptic science fiction; every sci fi film that followed copied it. The fantastic stunt and road level camera work makes for some visceral chase sequences in which vehicles and their occupants are smashed, crushed and sent pirouetting through the air with a sense of real time physics; there are no glossy Hollywood style slow motion pyrotechnics here; just an orgy of automotive destruction! A worthy addition to the tradition of Yojimbo and A Fist Full Of Dollars with a science fiction spin.

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.

Planet Terror (Grindhouse Presents: Robert Rodriguez's Planet Terror)

What a fantastic zombie movie!!! The actors, the ridiculously exagerated performances, the old image, the unnecessary and inexplicable explotions everywhere all the time, the excess of blood, the plot, the dialogues!!! my God, the dialogues:

Sheriff Hague: I figured that one of my new deputies might end up shooting me... but not you, Tolo!

Everything in this movie is in its right place.

Death Proof (Grindhouse Presents)

I really cannot believe that many people didn't like it... and many Tarantino fans. What is wrong with it??? What is not to like???
The story is fantastic. The film is very Tarantino: long and great dialogues that seem to lead nowhere but are highly important, followed by fantastic action scenes! And these were incredibly awesome action scenes!!! probably the best of Tarantino's films.
And, as usual, the soundtrack is ... just perfect, brilliant, unbeatable.

Der Name der Rose (The Name of the Rose)

In this adaptation of Umberto Eco's celebrated novel, Franciscan friar Sean Connery investigates a series of bizarre murders in a monastery in the 14th century. Aside from the rather unusual subject matter, this is a unique film in that it does not feature the usual starlets and pretty boy actors populating a glossy Hollywood-ized version of history; it actually looks and feels like a working Medieval abbey. And as such, the monks will win no beauty competitions! Most of them would look perfectly at home adorning the abbey walls with the rest of the gargoyles! This just adds to the already potent atmosphere, and in one of his best roles, Sean Connery commands the screen as well as the able supporting cast including the ever reliable Ron Perlman as the demented hunchback. The story explores the theme of religious intolerance and climate of hysteria in which a reasonable minded man of learning can find it impossible to function within; "justice" is doled out by self-appointed prophets who dare not be opposed on pain of death, and blind faith and superstition replace logic and reason. Let's face it, things haven't changed much over the centuries. Add some wonderfully literary and witty dialogue and fascinating historical insights, and you have a film that works both as an excellent adaptation and a satisfying murder mystery.

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.

Double Indemnity

Fast talking insurance salesman Fred MacMurray falls for beautiful but ice cold oil tycoon's wife Barbara Stanwyck and together they hatch a scheme to kill off her husband for the insurance money. Using the classic technique of beginning at the end, the entire story is narrated by a blood stained MacMurray as he gives his insight into the downward spiral his life took the moment he got involved with the irresistible femme fatale. Stanwyck is perfect in this role; glamorous, but with a steely gaze that belies the emptiness of her heart. As is MacMurray playing the sap who thinks he is in control, but Edward G. Robinson still manages to steal every scene he is in as the wily investigator. Anyone looking for a feelgood movie with a happy ending should give this one a miss, but if it's an expertly written, brilliantly played and influential cornerstone of an entire genre you want, this is straight down the line...

The Maltese Falcon

A lot of films that are considered "classic" are viewed because you feel you ought to rather than because you want to, and the result can be disappointment. The Maltese Falcon is an all-time classic that not only deserves to be seen, but demands it. Bogart's cynical anti-hero was far from the square-jawed do-gooder that was the staple of the crime story of the time, and Huston's own adaptation of Hammet's novel has barbed dialogue zinging off every character like a hail of ricocheting bullets. Some examples of this type of film can be too convoluted for their own good, but the comparatively straightforward plot of The Maltese Falcon makes it the perfect entry point for anyone interested in Film Noir, and what you'll find is a wealth of taut, witty dialogue, timeless characters and one of the best detective movies ever made that arguably was the starting point for an entire genre. And to think... this was John Huston's first film! Remarkable.

The Bridge on the River Kwai

A stubborn English Colonel locks horns with a similarly duty-bound Japanese prison camp commander over the building of a strategically important railway bridge during the second world war. David Lean's prisoner of war story is a tale of obsession, and it is the battle of wills between Alec Guiness and his Japanese counterpart that forms the core of the story. Examining the cliche of the British stiff upper lip, although Guiness' obstinate refusal to co-operate with the enemy gives his men the spirit to carry on, it is more his own personal obsession (bordering on insanity) than heroism that eggs him on. On the other side of the coin, it is William Holden's hustling commander, actually more interested in self-preservation (echoing his role in Stalag 17) who must show him the error of his ways during an unforgettable finale that brilliantly captures the madness of war. It is maybe a little longer than it needs to be, as the central section away from the bridge itself is rather less interesting, but Guiness' performance is superb, and this film is rightly considered as an all-time classic.

Cape Fear

A lawyer finds his family terrorized by a brutal woman hating sociopath who blames him for sending him to jail for 8 years. Gregory Peck was the perfect casting choice as the morally upstanding husband and father who finds he must question his principles when the law fails to protect them from such a wily and dangerous predator. But it is Mitchum on top form who steals the film and brings a real sense of underlying menace to his character; the scenes he shares with Peck crackle with tension. There's also some strong support from the ever reliable Martin Balsam and Telly Savalas (sporting a full head of hair!) and the family scenes are refreshingly syrup free. With a very memorable score and great showdown featuring a classic closing speech, this is far better than the uncharacteristically crass Martin Scorsese remake.