My Favorite Movies

Brilliant, breathtaking, inspiring. A good look into the life of Bruce Lee that, while having it's points of inaccuracy, makes for a fitting tribute to the man portrayed in a superb film. The casting of the film was done very well, Jason Scott Lee plays the tenacity and caressing sides of Bruce with the justice that is deserved with a fantastic array of support casting. A worthy note to mention about this film comes in it's musical composition. Here, Randy Edelman has created a score that fits perfectly with the scenes of the film and even outside of the film, the score can be seen a true stand out. For him to be snubbed by the Academy is an insult. What truly makes this film so great is how it infuses the elements of making a film that focuses on conveying meanings and themes to the audience, while also bringing a high level of entertainment, allowing the viewing demographic to be much larger. The main themes of racial tendencies during this time are clearly highlighted and it is through this that we, the audience, feel true compassion for the character on screen.

UPDATE: One of the greatest films ever made...easily. 2001: A Space Odyssey is the ultimate film of hypothesis and the ultimate example of how meaning can be so much more impacting through imagery, rather than words.

Open your mind to individual interpretation, because this film can be seen in many different lights.

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A groundbreaking film on all accounts, 2001: A Space Odyssey is an audio and visual delight as we delve into the unknown. 2001 is a film that gives insight into our past, our future, our bodies, and our minds, and through this there are many questions asked about our ourselves, our existence, and our future. Stanley Kubrick proves with this that he is one of the greatest directors to grace the screen and this is achieved through his sheer brilliance in creating extraordinary feats of visual flair and ideas. While the story for 2001 may be faded at points, we are still given a clear and thorough examination of a very possible future (though far beyond the year of 2001). This is a film that utilizes symbolism and musical composition perfectly in what makes for an experience much more than simple cinema - instead we are treated to moving art in the three stages that this film takes us on with each camera shot holding it's own meaning and artistic impression. This is also a film that conveys the human notion of curiosity and the ramifications, both good and bad, that this aspect of our nature can bring (evident in both HAL and the apes). Essentially, 2001 is a film that is open to interpretation, it's conclusion is as compelling as it is controversial, and through this the film holds more meaning (as confusing as this meaning may become). If you want an example of visual cinema at it's finest, look no further than 2001.

A spectacle set in scunge, Once Upon A Time in the West is a poet's tale that gives as much insight into the backdrops and times of the old west as the characters occupying them. The film is dirty, the film is cold, and the film is slow, but with the encompassing mastery of it's many departments, this is a film that is made for art and enjoyment.

Through the sweeping score by Morricone, the picturesque cinematography capturing a painter's view of a gritty ordeal, or the engrossing and detailed screenplay lavished out like a straight retelling, this a film that easily captures the artistic attention of the audience while also managing to bring a stream of smiles. A strange fashion is adorned through the pacing of the picture, however, where the film seems to take constant, purposeful pit-falls in it's rythm. Each scene seems deliberately set up to rise at a slow pace, coaxing the audience on in anticipation until reaching a climactic peak, where after the tone drops once more as a refreshed scene takes the fore. Many a time this tends to work where it truly shouldn't. But with gratitude towards the artistic inflection and overall tone of the piece, the alternations of the tone work like the bumpy ride of a stagecoach - the trip takes a while, but the scenery is beautiful enough to lay away the slow waits.

Yet, what truly sets Once Upon A Time in the West apart from it's many predecessors and successors comes through the notion that nothing is ever truly defined in the film. With plenty of dialogue nulled scenes, the audience is left to ponder over these character's, their ambitions, and the true driving force of the story. However, the characters lay as only a scattering of pebbles in contrast to the vast desert stretching before us. The film gives vivid insight and a sense of hearkening traditionalism in conveying the rugged, dry landscapes and atmosphere of this time. There are no "good guys" in the west, even our harmonica strumming lead actor is given a gritty ambivalence. There will be times where the motives and decisions of these men will be continuously questioned, but it is this realism that makes this film that further bit special.

Out of a fiery and swift career, Leone proves himself to be at his peak in terms of fulfilling a film's aesthetics. The cinematography streams and weaves, levering itself between the pensiveness and contemplation of the extreme close-up, where we almost feel absorbed into the notions being felt by these men of vengeance; or allowing the complete consumption of the expanse surrounding these ordeals through distanced, yet wonderfully framed and placed shots.

With the look of a painting and the force of a well oiled machine, Once Upon A Time in the West is cinema at one of it's rarest, highest rises. If ever there was a hard edged, dry opera with the kind of poetry told with few words, this film would be it.

An epic of the grandest proportions, this film truly sums up what a rounded film of such large heights should look like. Being the finale' to the trilogy, The Return of the King had the potential for more action and more emotion, and luckily we are given this through some fine filmmaking. Jackson stepped up his game from the previous two installments to prove his prowess in this field, the score is magnificent, the cinematography and mixture of effects was jaw-dropping, etc. etc. This is a truly fantastic film, and WORTHY of it's Oscars. To sum up what this film is: it is a modern day 'Star Wars', and I can back that up with many points.

James Dean is a method acting genius and Rebel Without a Cause showcases his raw talent to the world in what is considered his best film, of sadly only three which he made. The acting in this drama of teen angst and the need to rise over opression from peers is nothing but extraordinary and it is clear how James Dean truly immersed himself in his roles, even outside takes, to absorb the essence of his character. Natalie Wood - playing the confused love interest, and Sal Mineo - playing the troubled and lonesome friend serve as great support casting, especially in the case of Mineo whose interpretation of Plato gives reactions of sorriness and and hope for the future from the audience. The message in Rebel Without a Cause is that each generation, while exteriorly changing, can be as bad as the next in terms of disobeying rule and wanting more. This is a film that can strike a chord with many viewers.

Tender immorality. Days of Heaven lavishes its exterior with beauty to oppose the deviance of its plot and the ethics of its characters to make for a picture laden with the splendor of serenity and the insight of needs, wants, and love. The film caters as a moving film through imagery as it captures an environment and a setting and is able to progress with minimal dialogue.

...more soon.

UPDATE:

Seminal filmmaking here. Four and a half stars does not justify the sheer brutality and brilliance of this piece. Top billing.

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A brilliant achievement in filmmaking from every person involved. Scorcese's best, and a near career high for DeNiro, Raging Bull is a testosterone induced affair in one of the most captivating and real character studies ever made. If you want an example of a true director's film, than this is one to keep a wide eye out for. Every scene, with every frame, is picture perfect in it's execution and the transitioning through some extraordinary editing makes this film seem so much more than a simple boxing film. But, in essence, it truly is much more than the sport, as we are, instead, taken along the arduous and hard journey of Jake LaMotta. Do we care for the character? No. Are we forced to dislike him? Yes; and this is brought about through DeNiro's Oscar winning performance, which (in my mind) is just a little bit shy of his role in 'Taxi Driver'. Raging Bull is a film that never holds back anything in it's swift punches; the boxing scenes are choreographed in a stunning fashion, the supporting cast backs up a fiery LaMotta, and Scorcese, ah Scorcese, the Oscar statue should have been yours back in 1980 with this film, which is one of the greatest directorial achievements of all time.

A reflective film that mirrors its own medium, Breathless is a film that seems to enjoy shooting down the merits of cinema while at the same time praising them, in this expressive and inventive art piece from Godard. Michel is the embodiment of living the life of a movie-star, "living dangerous until death", as he uses his Bogart impersonations; this twisted, absorbed persona drained from cinema, to live life as he sees it - through a screen.

But forget Godard's wonderful techniques and imagery, just watching Jean Seberg is enough to keep a smile throughout this film.

Thrilling, humorous, and one of the most fun times that I've had watching a single film in recent memory. The core strengths to North by Northwest come through the brilliance of its winding screenplay and the cocky charm of its lead - Cary Grant; tailored for this character. The film is an expertly crafted actioneer that intertwines intricate plot elements with highly enjoyable audience aspects. Had it not been for the inclusion of Hitchcock's annoying "macguffin", the film would be rated higher once over.

Quite simply, a masterpiece. Giant is a triumphant film that spans decades in it's storytelling to convey many different aspects of life. This is a film that gives an insight into family and the expectations of those close to us, of solitude and longing for a place, and of racial tolerance in a changing society. The performances of those in this film are breathtaking, Hudson and Dean are electrifying in their leads as they play each side to the messages given to us. Hudson gives his character the inflections of a head strong man but is able to convert that into a change as the film progresses, and James Dean, as usual, plays his character perfectly in all regards (in every scene that Dean is in he steals the show). George Steven has a lot of ground to cover with this epic and he does it with style, giving the film a rythm that abstains from the possible pitfalls the film could have suffered. The only qualm I have with this film is that James Dean was underused, the story was begging for more of his character; but, without that we are instead treated to a more in depth look at the family of this Texas ranch. Giant is an asonishing film that succeeds on all accounts and is highly recommendable.

UPDATE: The power of this film continues to grow on repeat viewings. It's a film of emotion and subtle substance. It's means so much once delved, but means little on the surface, and it's resonance will prove to be a difficult thing to tap for some people. I don't like to re-rate films, but this more than deserves higher accolades. Up a half star, though, my personal bias wants much more. The feminine touch pushes the film to absolute brilliance.

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Strangely charming, awkwardly captivating, and ironically magnetic in it's blank qualities. Lost in Translation is a film that feels very hard to pin-point at times; it feels hollow, yet it remains likable to the end, and ultimately means nothing and everything at the same time.

There's an undisputed blank quality to Lost in Translation, an almost melancholic outlook that resonates with our main character's, and while there is no denying this seemingly hollow tone and narrative, the film still manages to bring quirky humour and subtle philosophies to us. The quandries that this film represents are something that can be experienced by each person as, after thought and concentration on the film's messages, we are left in our own melancholic state asking questions to ourself. Are we where we want to be in life? Is this path leading to a destination?

To further it's tones, Lost in Translation is a film to give clarity to people of either side of the age pool. Murray's sallow character feels blank, asking the question - HAVE I witnessed what I should have in life. Whereas Johansson's character of echoing confusion brings an aching truism to younger viewers - WILL I witness what I should in life. And it is here that the film is becoming "lost" to many viewers. It is not about what is being said, but more about what is being seen. The awkward pauses in conversation and lack of relevant scenes are not to be taken heavily. Rather, the film is more about enjoying the company of someone like you, that rare person. Can two blank souls find fulfillment for one another?

Sofia Coppola has crafted a finely tuned film that aims for much more than what may be initially seemed. The film aims to have the audience lost in this same confusion that the title bares, and you will be if you watch it in the traditional sense of film. However, if you can take a film as a study of character, of the world, and of the human condition, then you will find something much more real, much more relevant, and much more revelatory to your own life.

It's not about the dialogue, it's not about the story, it's not about the setting. Intead, this is a film about emotions, characters, and accompaniment, and that is how you should be approaching this.

Astounding, incredible, powerful, American History X is one of the most impacting films I have ever witnessed. The themes evident in this film reverberate soundly through the imagery on screen, which is done impeccably by Tony Kaye. The transitioning of using grayscale film for the past scenes gives further insight into the simple minded way of thought that plagued the characters in this film, and though the racial and political messages that this film sends may come across as harsh, there is a degree that it rings truly. It's evident themes of how equal opportunity being an ideal that is being chased, but instead makes way for a tip towards immigrants is a concept made very clear in the picture and will stay with the audience for a long while. Tony Kaye, the director, is a genius, a man who truly knows how to work the camera and make the most of this experience. The acting is sublime, Norton should have an Oscar sitting on his mantlepiece after his depiction of Derek Vinyard, a character in which he has highlighted the difference of anger in contrast to redemption. Ultimately, the messages this film brings across are resounding and thought-provoking, this is a truly astounding film and sits up there as being one of the best films I have ever witnessed. Thoroughly recommended.

Undoubtedly the best film in the superhero genre. This was one of those films that, if handled incorrectly, could have ended the film franchise of this hero for a long long time, however, the brilliance in combination of Reeve and Donner makes this THE landmark to compare superhero/comic-book films to (this combination even makes up for the ridiculous portrayal of Luthor played by Hackman). Casting by Richard Donner in this film is mixed but his direction is superb. Christopher Reeve is the epitome of Superman and gives this role perfect justice for what was needed, his portrayal even becomes so good at points that the audience can actually find realism in the different persona's of Clark Kent and Superman. Casting on Lois' part was also done nicely with Margot Kidder giving the flair that was needed, however, the casting of Gene Hackman can be considered as incorrect, with a performance that is never menacing enough (although this may be the fault of the scriptwriter.) Speaking of scripts, Mario Puzo, writer of the Godfather, has done a great job with this story which adds humanity and vulnerability to the most hardened and indestructible being there is and the story progression allows each character to shine at points. Ultimately, Superman: The Movie is the prime example of what comic books into movies should be and (arguably next to Batman Begins) is the prime example of superhero films, period.

A science fiction masterpiece created by Ridley Scott here and worthy of it's accolade for being known as one of the greatest science-fiction films of all time. There is a startling look at the future in this film interpretation of possible proceedings with much of what is in the society of this film slowly coming into fruition of the society of today. Harrison Ford was in his glory days when he did this film and it shows, he is great, but the real star of the piece is Rutger Hauer; who's bone-chilling replicant character has the paradoxic nature of being able to connect with the audience. The tagline for these replicants is 'more human than human' and much of the film delves into this aspect and makes it believable, and with the help of quality performances by all involved this aspect beomes realised. A real winner for this film is it's cinematography and subtle inclusions of symbolism, such as bonsai trees to signify man's hold on nature, which encompasses everything in the film and truly shows the audience that Scott was on the top of his game when creating this film. This is a near perfect film, the only gripe I have in the production is that it contains a slightly jumbled pacing (but, looking inside the piece this may actually convey the dispatched people of this society and the depression that looms overhead). Thoroughly recommended.

A near perfectly made film with timeless and picturesque tonal qualties; The Graduate is a supreme example of film that showcases just how broad an audience demographic can become.

In many ways, this is a very deceptive film in what it is saying. It may look to be an entertaining, albeit stylistic, romp to be enjoyed. But, thanks to a deep screenplay by Calder Willingham and Buck Henry and even deeper cinematography by Robert Surtees, we are given insight into a portion of life that every single person faces - the faded years. Benjamin Braddock is the embodiment of the confusion and isolation of people of this age. Are we considered adolescent still? Or are we adults? Really, we're in between, and this is showcased through the (what many people will look at as being pointless) scene where Braddock is forced into a reclusive state in his pool while his 21st birthday turns into a joke at his direction.

Then along comes Mrs. Robinson, played to the point of being the inventor of the seducing woman cliche' by the wonderful Anne Bancroft, who gives Braddock the opportunity to walk past that gate and enter the adult dominion. Her offer - sex. But the screenplay continues down it's devious path with it's subliminal humour as we inexorably move through Braddock's following adult encounters - love; the force to wash away his confusion and tedious stage in life.

Dustin Hoffman made a huge impact in the circle with his portrayal of this complex, yet hollow, character in a performance that proves as a fine example of one of actings most difficult aspects - reacting to others performances. The reaction of Braddock are priceless throughout this piece about the coming of age.

Mention should also be made to the Simon and Garfunkle songs which not only help with the film's tonal qualities, but also give stark insight into the film's proceedings through some meaningful lyrics.

Director Mike Nichols has crafted a near masterpiece of a film that has the only single downpoint of leaving the audience wanting more of this hectic life displayed to us. The Graduate is a film that gives meaning through words, imagery, music, and even silence, and coupled with it's audience potential it is a film to be remembered for a very, very long time to come.

Literally breathtaking. Penn's foray into the gaze of the world from youth is a compassionate look at life and the aspects of learning.

I'm speechless right now. The film is beauty, tenderness, and feels so real.

...more soon.

The critic tagline says "supremely entertaining" and thats exactly what this is. It has depth, but keeps shallow enough to draw in a very broad audience.

Despite the contrary to what many believe about 'Se7en', this is a very original and captivating film with a huge twist at its conclusion.

RE-REVIEW: The more time that you spend with the Corleone family, the more you grow accustomed to their awkward charm. My first viewing left me with a film that was good, but felt muddled. The second viewing, however, expanded greatly on the film and my interpretations of it. The Godfather, truly is, a fantastic achievement in movie making.

All of the facets of this film have been handled delicately with outstanding performances, great character emotion and development, picturesque settings, and a wondrous Italian score all collating to make for the atmosphere of the clandestine mob family.

In retrospect, this film would have to go down as one of, if not the single, greatest ensemble casting ever put to film. James Caan gives the fire and womanising traits to his character, Robert Duvall keeps collected in his business role, John Cazale gives Fredo a sense of warranted cluelessness, Al Pacino gives us the definition of a change in character as he turns into a smouldering and soulless leader, while Marlon Brando rightfully steals the show with his (now often mimicked) interpretation of a man of supreme power in the "mafia", but the characters traits extend to give us insight into a surprisingly gentle and understanding persona.

An awe-inspiring film that picks itself up onto stronger feet with each viewing. Hence it's timelessness and ranking among so many film lovers. On a side note, this film now shares the spot with 'The Wizard of Oz' for the highest rank gainers on my Favourites List.

Forget about this just being a good Christmas movie, this is a good movie in any regards. It's a Wonderful Life is undoubtedly one of the most uplifting and inspirational movies of all time and this is achieved through the classic formula of characterization, change, and connection. James Stewart gives a riveting performance as George Bailey in a role that showcases the whirlwind of emotion present in Stewart's acting range; from the anger of jealousy, the sorrow and depression from loss, and the happiness and joy found in life's most simplest of occurrences. This is a very smartly contrived and executed film and Capra did a stunning job of crafting this film for it's time, by utilizing beautiful shots and getting the most of the performances; it should also be noted that this film is done so well that it still firmly stands the test of time. The only gripe I have with this movie is that in several sections there seems to be a bad job of sound editing and to some people this film may meander for too long. However, in the grand scheme of filmmaking, this is a firm star that will remain to be cherished for decades to come. This is not only an enjoyable affair, this is an affair that will teach you of how optimism in life can always bring fruitful rewards, not matter how bad the circumstance.

The classic family film and still one of the best. Lookout for a remake but don't expect it at all to top this.
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UPDATE: I severely underestimated this film. The Wizard of Oz is not only a good film, it is an exceptionally great film. This is the ultimate example of a cinematic classic as it's themes remain as strong as ever in a tightknit story that brings forth the true connotations of charm and wit. The screenplay is sharp, and we are given an insight into our dreams and nightmares, our surreal fantasies and harsh realities, and through a near flawless execution in a richly expensive production, The Wizard of Oz is one of the true greats of all time. The main reason for the film's greatness lay not in it's smart writing, nor it's direction or gallivanting performances, but rather for it's universal appeal where it is able to morph past it's childhood status and into a timeless movie to be enjoyed by all.

Arnie does a great job here, but that was not hard. The director tells Schwarzenegger to be silent and dim-witted but can swing a sword and that's all that is needed. One of the much better action films in the genre that, while having some dated scenes these days, has all the ingredients to satisfy any action film lover.

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EDIT: I think I've come to the conclusion that many ACTUAL film reviewers are idiots and should not be in their profession. They supposedly know film, yet I have read many reviews calling this "excessively violent" or "a terrible performance by Schwarzenegger". Well, I have this to say to those supposed 'reviewers':
1/ This is a movie based on BARBARIANS. I can't think of a subject more worthy of violence and warfare than a story depicting the blood shed of the barbarian tribes and their ignorancy towards the dead. That is what barbarians do.
2/ Conan is a DIM-WITTED character, therefore Schwarzenegger's idiot, tough man role was PERFECT in this film, there was nothing more asked of him.

In this edited conclusion - film reviewers of a past year are dolts who don't look far enough into the subject matter of the film on hand.

UPDATE:
A film that gets better with each extra viewing. My recent watch, being my third, was as fresh as it was the first time that I saw this extraordinary film. It's interesting to note that the fighting in the film is simply a by-product of the overall message and acts as background to the plethora of provocative material showcased around it. Fight Club is a film that strikes true as it "fights" against commercialism and the so called "needs" of a society that are spoon fed to us by the materials that we simply eat up and follow.

If anything, this is a reflexive film. Those die hard fans out there who supposedly understand the film and adhere to it's principles should immediately throw out the TV and DVD player that you watch this film on, as they are simply the materialistic possessions that this film so boldly exclaims as being wrong. For us realists, though, simply watch and enjoy the film for visual flair, it's provocative ideologies, and it's nature of being one of the most refreshing and original films of it's decade.

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Great film that gives insight into the mental prowess of the male just as much as the physical side.

Coupling a poignant screenplay with smart direction, In Good Company alleviates itself from predictability into an intelligent, enjoyable, and emotional experience told through the situations of commercial coldness. The film exterior has a morose, almost downbeat tone as we trudge through stale depression with our characters, yet it's constant inflictions of subtle humour and social commentary make it stand out from it's genre.

With captivating wry smiles in awkward situations, the settings for the film act as a board with many scribbled notes of the corporate culture. The notion of societal evolution versus corporate benefit is etched to us on the screen through the inter-relationships of these characters and their lives in this ever changing world and it's industries. The presented concepts lay foundation to an analysis, and humourful provocation, of how business is growing more into an inhumane machine focused solely on monetary benefits without care for the workers who obtain said benefits.

In essence, In Good Company utilizes it's characters to fortify this backdrop of the corporate culture through the reflections of the hierarchy in business - the relationship between managerial positions and class workers - with a presented company that proves to be good indeed. Dennis Quaid steps into a role of the yesteryear - a man with a balance for work, family, friends and regular ideals, and a performance reflecting these traits with a comforting tenderness and striking dominating presence. Topher Grace suits up with the weight of the world on his character's shoulders, slumping and selling through work and life with an unknown, faded path ahead. A character embodying the prevalent changes in a profit hungry world, yet with lessons to learn from the harsh wisdoms of the past.

A morose level under depression can often be felt throughout the picture, as lives become easily destroyed due to the decisions of high end employers. But it is the humourful interjections throughout mirror-like scenes of authenticity throughout the relationships of love, knowledge, and friendship outside of the chilly office atmosphere that bring light to this otherwise dreary subject. The screenplay is often able to make the sad into the melancholic, which suits the picture beautifully. In Good Company is never meant to be a roaring pleasure of laughs, and never acts as a sweetener of romance, but rather delves into the real aspects of life through an everyday environment of this foodchain. The film is about synergy, and with a truth from it's departments that never try to outshine each other, In Good Company is a strangely touching and striking picture that breaks bounds while never entirely entering new grounds - and it works a treat.

Hanks is great, Zemeckis stuns, and Wilson is brilliant. I saw this movie a few years back and still now I regard it in my top 10.

A film of breathtaking visual splendour, Aguirre: The Wrath of God is a film that stays finely in tune with the beauty of it's natural scenery while giving a vivid and real insight into the truths of madness and the thirst for power.

...more soon.

Such vibrance in such a melancholic film, Punch-Drunk Love uses such a bright array of colours in combination with love enriched overtones of the score to bring a heightened level of surreality to a real world with real people. Sandler's turn from his usual comedy into this bleak, offset character of manic problems is a strange highlight to watch.

What tends to make the film so interesting is the inability to pinpoint it. It's tones are so unique, it's characters captivating, and it's world so relatable yet so different. The film is soaked with love in its French-new wave construction points, yet it remains so downtrodden in its mood that it becomes offsetting.

It's a film that derives itself from boxing but ultimately gives the rags to riches story from the perspective of a loser to someone respected for himself. Stallone' s greatest achievement in film by far.

Captivating, haunting, and emotionally atmospheric, Vertigo is a resonating force leaving its audience awe struck by its ferocious executions of emotion through its vibrant, yet grimly dark characters. Elegiac yet brisk in its output, the study of character and the interpretations of film and its impact on the human mindset force a change in audience perception and a change in filmic tradition.

Hitchcock's forceful parable of the human condition lies at its core through his characters who, in many regards, symbolize the power and danger of obsession, love, loss, and the inability for forward progression. The narrative has a steady incline (and final stroke at its conclusion) to push forth the ideal of a past experience best forgotten holding a strange allure to relive itself if one is unable to move forward and treat the past as the past. Vertigo laments itself as a harrowing outlook on lives and schemes crashing into one another with the dangers of obsession and its nature to drive ourselves into misconstrued paths. But while it gives this ideal to us as a whole, it also tends to broadcast the various points of obsession - obsessions of love, of pedantic perfection, of the unearthing of truths.

Stewart returns at Hitchcock's side in this thriller as the embodiment of this obsession and the catalyst of this dangerous pursuit for what he believes to be love. His heroism is often questioned throughout the film where a blurry line is formed between the deeds of his job and sometimes seemingly antagonistic ways. Yet, throughout this progression into his melancholic and manic behaviour, there is still a sheer likability to the character. Due to a true to tone performance from Stewart, the audience feels for his character even through his tirades of trying to abolish his unrequited love and turn it into a truth. However, the real show stopper of the picture comes through the motivator of this obsession - the woman that is wanted but should never be pursued. Kim Novak gives her role a widely under analysed spectrum in both behavioural and voice projections. Her beauty lights the screen, while her personality sets a sizzle.

Cinematographically, the colour scheme of the film tends to contradict the nature of shots, yet never actually hinders it. The choice of colours for the film imbues a deep vibrancy, and brings a distinction between attraction and repulsion. Novak's clothes remain stale and cold, a symbol of a danger that should not be pursued, while bright colours wanderously aim to steal the attention, but to no avail. Yet the shot structure proves the theory of framing rather then panning. Meticulous still frames are implored for the viewer's perusal, to once more force the gaze of the film's colouring and to study our characters in a more delicate manner. Hitchcock never tries to dazzle through camera ingenuity, but instead opts for placement to be the forte' of his shots, with an outcome just as impressive in this art form as anything created.

However, while the camera work instills a purposeful coldness, this does not mean that the film is without the flair for invention. Through the combined efforts of Bernard Herrman's hypnotic, mysterious sound composition and the invention of shots to reflect our leads 'Vertigo', the audience gets sucked into a trance-like state with the film, much again to reflect the conditions of our wandering lead. The hypnosis of the film is achieved through the visuals and the music, and takes the notion of cinema that extra step further as we engulf ourselves in this film and this narrative.

Brilliant. This darker, vengeful Batman was a fresh start that was badly needed.

Absolutely astounding, this is arguably Coppola's greatest achievement as director and this is brought about through a war journey with much authenticity. Each facet of this film was handled with great care, cinematography is top notch, dialogue is rich, music and editing are well done, and the acting is sublime. Sheen gives a performance that highlights a man with mixed feelings towards his future which is conveyed to the audience through a variety of traits in the persona, Brando gives a good performance as the insane antagonist, the support cast is brilliant, and in my opinion Robert Duvall was underused - he was a true highlight. The only problem with this film is that in many parts it is very over-winded, whether that acts as a metaphor for the longevity of this journey or whether it was because I watched the Redux version. With that being said though this is a true must see film with direction at it's absolute peak.

Personally, this is one of my favourite films, from a critical perspective it still holds up as the landmark for modern superhero action flicks achieved through an equal level of action, romance, morality, and character development.