My Favorite Movies

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.

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.

---------------------------------

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.

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.

-----------------------------

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.

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.

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.

--------------------------------

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.

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.

Smart, vibrant and human - (500) Days of Summer is an honest yet fantastical look at the interconnectivity between people and the encounters that pit us together. The film is life, relationships and reality in the space of a nutshell, at once a push towards the harsh truths of the world, but with a reminder of the faint hope that whispers unexpectedly to wash it away. While it's tones of indie fandom may lean towards a new-age cliche' of sorts, the film proves something of a ray of light from the beginning as it's narrator smashes any sense of this - this film is not a love story. It is a look at relationships, which hold so much more. It is a look at the chemistry that binds us, the chances in life, and the random acts in the possible notion of fate. At it's core - the film is about growth, and the relationships we hold before "the one".

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.
-----------------------------------
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.

-------------------

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.

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.

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.

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.

-----------------------------------

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

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.

Giulietta Masina is wonderful. She is unique, and brimming with an overt positive attitude that charms through warmth; and La Strada is the perfect tool to showcase her original talents. Fellini's road bound journey is filmmaking of a straight structure with simple people, but involving complex relationships and innovative filming techniques. Rota's score complements the tenderness, while Quinn's brutal arrogance balances the steadiness of Fellini's lensing eye.

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.

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.

UPDATE: Still not quite a five-star winner, but once again it proves that multiple viewings of Kubrick films bring out much depth. My second viewing extrapolated vastly on my first interpretation. A Clockwork Orange is MUCH more than a morality play; this is a film that acts as a political attack and as a warning to the leniency in corporal punishment.

This future shows a world where the youth, almost literally, rule the streets. They have no real concept of punishment or consequence, and thus wreak havoc for glee. This is further emphasised through Kubrick's conceptual foundation for the film - paradoxes. These hoodlums are treated like children, with caress and naivety, never striking them with due ramifications, and their "childish baby-like treatment" is shown through their milk drinking and domination over their parents. The paradox, however, comes full force when these "baby treated" teenagers seek out violence, rape, and robberies all for laughs and thrills. There is no concept of morals in these people, because those morals have never been enforced into them due to the ridiculous "progression" of the government.

The scary part is that, once more, Kubrick's vision of the future is beginning to unravel as something very, very believable. And, as the final scene weaves it's way towards us, we are given one last lashing to enforce this ideal - babies always get their way.

--------------------------------

A fantastic achievement from Kubrick that falls just short of holding itself in a state of perfection. A Clockwork Orange is a violent and uncompromising yet tragically sentimental look at crime and the ramifications that can follow acts of rage. Moral quandries are explored in this piece of art, a piece that utilizes a formula of contrasting natures that lays itself on constant paradoxes and juxtapositions of tenderness and tenacity, highlighted in the gentlemanly clothing adorning the brutal thugs and the sweeping, classical musical filling the acts of violence. The true standout of the film is without a doubt Malcolm McDowell, who gives cinema one of the greatest performances of a troubled youth looking past the moral voids of his life, looking for an inexistent meaning of his future. The film's messages are strong, it gives the audience an insight into the consequences of bad actions and that change in the persona can alter this, but, it also proves that change can be an easily manipulated thing that lay only on the surface of the individual. A Clockwork Orange is a Kubrick masterpiece with next to no falts (though it tends to drop a touch in the second act) and should be seen by everyone willing to endure acts of brooding violence, but the redemption that can follow this.

The greatest film of the greatest trilogy and what I consider to be the best Science-Fiction film of all time. This is Star Wars at it's peak and there isn't much more to say to validate this film's position. The Empire Strikes Back takes everything that was so great about it's predecesser and evolves it to make for a much more brooding atmosphere. The characters have grown, the story is evolving, and for once we witness a film where the bad guys actually win. I don't need to write why this is so good, because everyone has seen this and realises this near flawless material, material that is accessible to everyone of every age. This is a film that takes age old elements and infuses them into futuristic surroundings. A true great.

From looking at this film it becomes clear that it achieved the improbable - it is better than the first.

Mistrust, disloyalty, and the search for answers entangle their way into one of the most finely tuned screenplays delivered to the screen. The Third Man is an intricate mystery that beckons a thorough reading by it's audience through it's weaving narrative that sends the viewer through the same tests as our leading citizen detective. The usage of shadows and lighting in the imagery for the film is amazing, and coupled with the skewed framing and quick cuts of locals expressions, the film tends to make it's own visual claim. Yet, as deep as the film goes into it's exploration of morality and mistrust, there is still a strange levity to the film; making it almost amusing at points. This is mainly achieved through the jaunty, Viennese strumming of the sounds score, which feels almost out of place in a film that houses such a brutal story with such cunning characters. However, the push towards atmospheric capturing may explain this seeming downpoint. Add Orson Welles as one of the more enigmatic villains to come before us, and The Third Man proves to be a film of depth that will entertain and intrigue.

Astounding, stunning, and sumptuous, Hero is a film to act as candy for the eyes, the heart, and the soul. Combining a reflective narrative with the coupling of illustrious cinematographic techniques (and transitioning) with beautiful choreography, this is a film that looks and feels like a unique piece of art and, in many respects, a modern marvel for current cinema. However, do not let the film's visual qualities deter your attention from it's underlying beauty, because there is a surprisingly deep plot with meaningful and defined characters with a philosophical message to be found.

....more soon.

Very well made film and worthy of its Oscar.

---------------------

EDIT: Just a quick note. This film is flawless, there is absolutely nothing wrong with it. Million Dollar Baby is one of the closest film's to reach perfection that I have ever seen. This is not just an achievement for Eastwood, this is an achievement for movies.

After 19 years, he has returned. After being bombarded with countless comic book films with a vast array of hero's we are now finally re-introduced to the icon of this genre, the man who truly puts the word 'super' before the word 'hero'. Superman Returns, essentially, is a vague sequel to Superman II which builds on some of the concepts and ideas created in the second Donner/Reeve outing of 1980.

When viewing this film the first time I had mixed responses regarding this film and was focusing mainly on the negative points. I decided to keep the review until a second outing, and I am glad that I did. Without expectations, without hopes, and without the film mapped out in my head I was able to sit and enjoy. Superman Returns is a comic-book film that has the rights to sit up there with the highest of afficionados, Batman Begins and Spider-Man 2, and this is achieved in a film that builds itself as being a spectacle to cater for everyone while holding a sense of maturity and maliciousness that was not apparent in the highly regarded originals. Brian Singer has gambled much when creating this film and luckily it pays off big time for the most part. Casting has always been a strong point for Singer and he once more strikes gold, Brandon Routh (with the screen time given) epitomises the role of Superman/Clark Kent and gives the same level of believability that Reeve gave to the audience, Kevin Spacey gives Lex Luthor a new level of evil and his talent to character portrayal is strong right throughout this epic. The story of this film is first class, combining the action, romance, and humour balances just rightly for a cohesiveness that mirrors the success of past rivals and with some of the greatest special effects ever put to celluloid Superman Returns gets a step up in the action department. This film is a true spectacle, an epic of unfathomable proportions, however, it does have it's down points.

The main problems with this film come from two people - the director and the editor. Brian Singer has done a great job with this film, no doubts about it, but for a two and a half hour cinema outing he has'nt handled the story and production in the ways that it should have been handled. A lot of the film is full of very short and cut scenes that travel between each character and this ultimately brings about a very jumbled pacing. With Singer cutting out some scenes and focusing a little more on character development and covering up severe plot holes then this film would be the definition of what an action film should be. A sequel may fix these points but only time will tell on that scale. And for once, Singer's famous twists do not, I repeat with a resounding do not work in this film. There is a conclusion that will be very much open for debate.

With that being said, Superman Returns is a fantastic achievement that gets better with each visit.

A very classy film in a very brutal setting, Martin Scorcese has returned to his guns and has created one of the best films of the year. The Departed has had a lot of Oscar and public hype, and it is well deserved, this is a bloody and conniving look at deception, loyalty, and motivation and it is brought to us in a brilliant screenplay that is anything but predictable. The script to The Departed keeps you on the edge of your seats, as it was designed too, and the constant twists and gut wrenching suspense will leave your eyes glued to the sizzling plot layed before you. The casting for this film, initially, may have look a little strange given actors like Mark Wahlberg and Matt Damon in a film like this, but every single actor has given a fantastic performance - I would go as far as saying that portrayals were perfect. This is a true actors movie and Leonardo DiCaprio stands out firmly as the best of the lot with his edgy performance as Billy Costigan. However, it is some of the subtelties to The Departed that leave it a little far from that masterpiece it begs to be. Throughout the script there are little bits that feel unexplained properly, such as Costigan's recruitment, but these inconsistencies tend to blow over fairly quickly. And, of course, The Departed leaves you with a very ambiguous twist at it's conclusion - take it as you will. All in all, The Departed is a fantastic, wonderful achievement that should be seen by all.

....review coming soon.

Simple but genius story. Utilizies its potential nicely and makes for a good stepping stone to the TV series.

A film that stays true to its teenage bearings but gives enough fresh energy to maintain a much broader audience.

Great film. Crowe gives his best performance and it remains that way to this day.

A SEVERELY underrated film; a SEVERELY well flowing movie; Primal Fear is an Academy Award winning potential film that delivers on all of it's finely tuned strings. This is a film that had the potential to be a true cinematic great, and with a better director it could of reached that pinnacle; but for now, it remains as being an engrossing thriller with one of the best performances of the '90's. Edward Norton makes one hell of a debut in this film as he plays one of his greatest role still to this day (the man should have his first of two Oscars for this performance). His counterpart, played by Richard Gere, is handled as well as the actor could have done, but it still feels at points that his character wasn't pushed to where he should have been at points (that is a fault of both Gere and Hoblit). The pacing and screenplay, however, are some of the true highlights in this twisting film as we are constantly guessing the next move in this elaborate chess game. But, AGAIN, there could have been that little bit more to extend into deeper territories. ARGH! This film is VERY good as it is, but it had potential to be TRULY GREAT if it were handled a little better had the subtleties been addressed. Nevertheless, Primal Fear is an above average movie that hits the chords that is asked of it, and what is asked for is a smart courtroom film with a wide enough scope for the average film goer.

The greatest martial arts film created by the greatest martial artist.

Quite simply - a masterpiece. The Shawshank Redemption is a film of rawness, showcasing raw brutality, raw remorse, and raw emotion that reaches inside and strikes a chord through every member of the audience. This is a film that holds contradictions in itself where it holds a formula so alien, yet so familiar, and yet manages to transcend film and make this a true visual and emotional experience. The prison walls act not only as a barrier from the inmates escaping to us, but also us escaping to them, and this is a theme that hits very soundly throughout the picture where hope is a lost ingredient in the minds of men who become institutionalised by their surroundings. The metaphors of this film reverberate through each scene where simple lines of dialogue taken for colloquial language mean much more than first impressions imply and through this an added layer of depth is conveyed through this picture. The acting and interaction of this piece are sublime, they truly are, and it is this that gives the film the added sense on integrity, of something that draws you into the ongoing preceedings. With a plot that encompasses a true insight into those we see as bad, who in contrast to the guards, the protectors, are actually good, and combining it with mind contorting lessons of morality and hope, we are given a film that truly must be seen to be believed.

Back to the Future works on many levels, one of those being the level of cool, which is also one of it's main themes. Marty McFly and the Doc come across very alienated to the rest of society and it works very well.
----------------------
EDIT: I had forgotten just how good this film actually is. My half-hearted review of above seems ridiculously insignificant in the terms of this film. There is next to nothing wrong with this picture and seems that EVERY role in this piece was tailor made to each actor. This is also a very, very smart film in the sense that it truly does make you think, but also allows itself to bring about a HUGE level of sheer entertainment. The ONLY thing about this film that may drag it down from the 5 stars is replay value - though a few more viewings could change that. A truly great film that has just made it onto my list of Greatest Films Of All Time.

Gripping, captivating, and fun; The Good, the Bad and the Ugly is a western with a dirty flamboyance, and this makes it one of the true standouts in not only it's genre, but of cinema in the last fifty years. One could say that this is a director's film, and it's true that Leone's influence strikes every frame, but this is also just as much rounded from the point of view of other production aspects. The Morricone score is simply inspiring, as he manages to combine grittiness with lightness, and sombre tones with pounding beats, and it almost feels like the music in itself makes up for a large portion of the film's tone. To continue on the lines of the film's tone comes the fact that this is a very hard and brooding film, that still feels light, fun, exciting, and this is achieved through an excellent screenplay that captures our different characters through a civil war backdrop. And it's through these characters that very subtle questions of morality are asked, namely in the points of truth towards their labelling. These roles are delivered to us in neat packages from all involved. There really isn't any standout from either the bumbling Wallach, the calm Eastwood, or the delightfully quite evil from Van Cleef. The only, single, downpoint to the film is that it begs to hold a little more depth to it's production, considering that it's lengthy run time. But, in the end, the run time is no issue, as the film briskly runs along through it's addrenaline pumping story.

Great family film that can be looked with views of comedy, action, and teen angst.

Wow...what a mesmerising film this is. Jack Nicholsen gives the performance of a lifetime in a near flawless film that proves as being worthy of 'The Big 5' at the Academy Awards. One Flew Over the Cuckoo's Nest is a film that looks at the mental conditions of people and juxtaposes the right frame of mind in contrast to the 'craziness' of these patients that run riot in the film. The screenplay is brilliant, the film may look fairly shallow and appear to be a simple liekable affair from the outset, but as you look deeper you see much more in this tale of solitude. We are given a clear understanding of how oppression and power can dull sensitivity and personality, witnessed in Nicholsen's brilliant portrayal of the main protagonist that is 'wrongly accused'. There are so many points where this film could have failed and become dull, but the sharp direction and aesthetical acting keeps pushing this movie in the right direction. As mentioned, the screenplay is brilliant and the tone of the film combines with the script to push the film into a rythm that mimics the spiral into madness evident in these characters. Then, of course, the film gives us one of the most ironic and heartfelt tragedies put to screen. A nice addition that Milos Forman implemented also is the absense of conventional film music. This acts as a resounding metaphor of the lost nature of these patients and makes the conclusion so much more powerful. To put it simply, One Flew Over the Cuckoos Nest is one of the closest films that you will find to being a masterpiece.

Filmed in Australia, Babe is a film that has a lot of heart and uses it's formula very well to appeal to the audience. The narration, camerawork, and of course the story are all unique, moving, and most of all entertaining.

Rounders has to be considered one of the greatest poker movies of all time, and while it's formula may be reminiscent of past cliche's, it manages to make for a more than entertaining film. Damon and Norton play their partnership roles in this film very well, and while Damon may be undercooked in most of his scenes, Norton manages to bring back the fire into the picture. Rounders is also not only a simple poker movie, but a look at a powerful message that instills the prospect of perseverance against oppression, achieved in Damon's character's struggle to "fulfill destiny". But where Rounders truly gets the wraps is in it's subplots that allow for the film to deviate enough from poker to make it accessible to a wider audience. With very nice camerawork, brilliant sets, and contrasting moods and tones, Rounders is a film that highlights many key aspects to good filmmaking and above all - is entertaining.

From Greenwood's manic score to Day-Lewis' hypnotic portayal; from Elswit's barren landscapes to Anderson's edgy eye, There Will Be Blood is a psychotic portrait of greed that lashes its canvas with insanity, grit and a determination to succeed through it's unique abstinence.


**On a quick side note: this is the first 5 star film from me since 2004, which states just how numbing this film can be**

...more soon.

Paul Thomas Anderson's look at morals, presumptions, and the downward spiral of society becomes an effective look at a span in the past, where the world and industry changed and life began to turn. Boogie Nights manages to work so effectively in the sense that its layers are prevalent, yet so under shone in its entertaining and amusing exterior. While the film touches on many heavy subjects, it remains humorous and taut in its ability to keep the audience watching as these characters dig deeper. In many respects, the films pornographic story could act as a reflection of film at these times - from brilliance in the 1970's to degradation in the 1980's, yet what it also conveys is the change in lifestyle for society. The freedom and fun of the '70's makes way for the crime and downward spiral of the '80's.

Hugely infectious and highly memorable, Knocked Up blends a mix of drama and comedy into a cocktail of emotion that is rarely matched. It's insights into relationships,

A wonderous and triumphant effort on Ron Howard and Russel Crowe's parts in what I would consider to be Howard's best film to date (narrowly beating A Beautiful Mind). The tone and settings of this film are both haunting and illuminating as we witness the bleakness of the depression surrounding this time and the shining light in James Braddock that brought hope. Russel Crowe agains proves his dominance as a powerhouse of acting in a role that clarifies the moralistic and heartfelt values of his character (values that were sorely lost in this harrowing times). A true standout in the film's making is it's editing, displaying one of the best pieces of work I have ever seen, where the addreanaline pumping fights are sewed seamlessly into the slow ordeals of the outside world. What Howard has achieved with this film is not only a look at a man who overcame oppression, but of this man helped many overcome this oppression, and this concept is brought to light completely with it's small subplots. This is a fairytale in an unlikely place and a film that showcases talent on nearly all fronts. Cinderella Man is not perfect, but it comes very close at points and has to be considered one of the best of 2005.

A good action film that holds itself as a mainly male orientated affair.

Still the king of teen comedy flicks. With the DVD only just now being reduced in price says a lot about this movie.

What a great movie, can't help but love Tom Hanks' character in this film that gives fame to the most unlikeliest of people.

Terrific, surprisingly heartwarming, and one of the best Australian films ever made. Director Scott Hicks has transformed something that could have been seen as very depressing (the fall of a prodigy into mental illness) and managed to turn it into a biopic tale of a man who has lost all but gained everything. The way this film moves through the torment of a younger Helfgott into the latter years of a fallen man with a unique perspective on life is handled as well as it could have been, and the performance by Geoffrey Rush - wow, just wow. He is terrific in this film in a performance with the happiness and confusion this character lives in that is worthy of his Oscar.

Chaplin's comedic flair comes into conjunction with his cinematic prowess to produce a picture of audacity and hilarity where the entertainers qualities are proven both in front and behind the camera. The film lays the framework of a cityscape undergoing major societal changes and our leads magnify this quality through their hardships. Chaplin's bumbling, clumsy character of uncertainty almost acts as a reflection of these uncertain times; an incompetent man in an incompetent world. This is a time where work was thin, depression was looming, and the family unit was constricted.

But the film also tends to audaciously poke the film industry at the same time. Modern Times courageously sticks true to Chaplin's abstinence from sound and utilizes many scenes, most notable the quick flicker of a sound radio in a police station, to prove Chaplin's will to deliver his entertainment how it has been proven to be done best. The visual comedy of the actor has never been more precise and well thought out, and the visual eye of the director in Chaplin has taken a tight gaze at a time of depression but with the sparkle of light that seemed to be lacking in the historical context.

Where the film tends to truly excel, however, comes through its ability to never wane in its rythm and to never falter in its jesting deliverance. Where many silent films, in comparison to the progressions of cinema, tend to prove slow, Modern Times instead entertains at a constant stream. The framing is still and rarely pivots, allowing the on screen antics and chemistry to take hold and give focus to these surroundings.

In many ways, the title 'Modern Times' refers to many things. It could allude to the industrial changes and the work shortage of this depression, or it could reflect the director's sly provocations of a modernising film industry. Regardless of the film's underlying intentions, it remains a piece of cinema that highlights the comedic genre and proves as an example of humour that is untarnished, constantly reinvigorating, and simply timeless.

A very, very well done film from a masterful duo - Lucas with the pen and Spielberg with the camera. Raiders of the Lost Ark is the definition of fine filmmaking from a variety of perspectives. Firstly, it shows how vital pre-production can be as we are given a smart script from Lucas that constantly throws quips back at itself (like screenplays should), and we are treated with sublminal casting. Secondly, through the production phase, we are shown just how high Spielberg's directorial prowess can reach as he is able to capitalise perfectly on the humour, romance, and of course the action of this fantastic script; and that isn't to mention the fine cinematography and set design. And thirdly, we are shown how a film is like an elaborate jigsaw puzzle, and the post-production phase is the piecing together of this talented tokens. Ford fits his role perfectly and it is clear that he was at his peak with the release of this film. Oh, and did I mention how riveting this script is? It succeeds everywhere, except for slight inadequacies through the realm of believability at points (such as pain threshold and avoiding an army). Nevertheless though, this is the kind of fun, exciting, rollercoaster ride of a film that blockbusters are made of, and because of this it is near flawless. A great piece of revered work from everyone involved in this adventuring tale.

The comedic genius of Steve Carell shines in this film that shows as probably the funniest movie of 2005.

Oscar worthy film giving an insight into the hardships of a World War II Jewish community in a predominantly German society.

This is a great, great comedy that pokes fun at suburban Australian families and their 'way of life'. The screenplay is very clear, it is able to maintain itself to make for a film that has very little movement and development, but manages to still appeal to the audience though it's satirical humour. While the audience shouldn't be taking any of what happens in the film to heart, it still acts as a comedic insight into 'the Australian working class family', which is what this film accomplishes. Thie is one of the real comedy highlights that has come out from Australia and rightfully become a cult hit.

A very nicely handled film that adds another diversification to the many roles of Tom Cruise, and he does not dissapoint. The Last Samurai gives a look at the impact one culture can have on another, the impact of technology through tiime, and the paradox of an equalized society being demolished by a corrupt government only to realign themselves at the tragic demise of the Samurai.

One of the standout and best films of the year. This is a film that is made to be enjoyed and bring a smile to the faces of it's audience; it's target market - everyone. It is near impossible to not be captured by the sheer charm and wit of Little Miss Sunshine, a comedy that hearkens back to the roots of simply making us smile. This is a film that could best be described as a black comedy, that glimmers with light in all places. An irony, maybe, but this is a film that runs itself off of those ironies in a screenplay that has all the marks of something far better than just being good - it is special. This is a film that immediately gives enormous character insight through only the first 15 minutes, the film then trundles itself along at a bristling place and never, ever falters. On a simple film treatment, this would be the definition of cliche' filmmaking; but, once shown in it's entirety, this is the definition of an indie masterpiece as it steers miles away from any form of predictability. Next to 'The Departed', this is also, easily, the best ensemble cast of the year - with each actor giving a great performance; the annoying thing being that no one truly stands out, but instead they are the foundation to one another, just as the characters of the film are. And, also, this is a film with a malleable message to be interpreted differently by those who view it. Watch this film, do not let it pass you by, because it will be highlighted in your memory as a film that dared to take reminiscent familiarities and twist them into the freshest film of the year.

The original Alien was a genre bending, cinematic masterpiece. How James Cameron could make a sequel that keeps well on par if not overtaking is anyone's guess but the fact still remains that this is a purely terrific achievement.

Dark humour and heartfelt emotions of realism are what make this film such an enjoyable feature to watch. Sideways is the kind of film that cracks a wry smile in awkward situations, but where it truly excels comes through it's constant infusions of reality. It can be a very easy thing to become absorbed into the adventures of our drinking duo, but this makes the film ever more fun.

Essentially, Sideways is a film with a very juggled tone to it. The film tends to hold a melancholic, almost repressive undertone as we are thrust into a reflection of our main character, the depressive Miles. Our characters intentions are bleak, their lives overshadowed by either their lacking past, or the daunting future that awaits them. In juxtaposition to this comes the exterior layer of style; where upbeat music combines with a quirky array in cinematographic techniques to bring the illusion of levity (a possible metaphor for the impetuous Jack). On many angles, Sideways is a film that feels almost as fruity and assorted as the wines that our connoisseurs indulge in, a trait that is carried through in the screenplay.

To put it blankly - Sideways is funny, and in a blank way, too. The humour of the film brings laughs to the audience through the predicaments of our character's, with a spontaneity that these level lives choose to adopt. The screenplay takes a rightful turn, however, as it chooses to balance this sardonic humour with heartfelt emotions. Throughout the course of this alternating adventure there is a stark familiarity with our characters. We learn about and delve into the lives of these people in a very swift manner, which makes us truly care for the turns that take their toll as the film progresses. The irony comes into force through the fact that, as expertly crafted by Alexander Payne, we care for these characters even though we may not agree with the decisions that they make.

Sideways is a fun exploration into the lives of people who are often dismissed by cinema. But through some fine performances thrown into a compelling script, we feel all the better for meeting these characters. Who knows, for those old enough, you may be so captured by the film that a glass of Pino Noir may begin to take your fancy.

An astounding, beautifully pieced mosaic from director Paul Thomas Anderson, who weaves ideals, characters, and themes together into an identifiably disjointed set of portraits, but an unmistakably streamlined overall story. The clarity of Magnolia is the force that immediately stands out. The film takes a few steps before warming to us, but Anderson makes sure to give us introductions. We meet these characters, we learn of their lives, and we start to enjoy their company. But it isn't until we become truly familiar with them that their functioning on the grander scale becomes noticed. At it's most base level - Magnolia is a patchwork quilt of life and its citizens; each person has a different story to tell, but in the end it is the one story of life that connects us all - and we may just be closer to one another than we would think. And it is this streamlined approach to this delicate and challenging subject that makes Magnolia so commendable. Everything fits together so well - not perfectly, and that is the point - that it manages to fit a broad scope of ideas and representations of life into a singular (albeit lengthy) running time. Yet while each character has their own representations - forgiveness in Cruise's "TJ Mackey", need of direction from Macy - the film's ultimate layers lies in the truths and compassions of this world and their need in society. It is a beautiful film that holds the potential to move an audience in so many ways.

An unflinching outlook on a gritty subject, Full Metal Jacket is an open fisted film that gives insight into something that has been seen countless times before, but with the most refreshing take of the subject since 'Apocalypse Now'.

In many ways, this is the most un-Kubrick film made. Simply because it's style, pacing, and meanings represent a different frame of mind then his other pieces. Earlier works gave a lot of room for ambiguity, but here Kubrick has crafted a film that gives the same messages as the countless others in the genre - war is bad. But instead, Kubrick opts to take this notion a few steps further. Kubrick doesn't just state that war is bad, he asks the viewer a question - what is the point of war? The Vietnam War, in general, was a waste of time and lives and this film boldly states that.

The inflictions of the barbaric nature of warfare are furthered with Kubrick's gaze into the changing and dehumanization of the recruits. They begin as people, but are turned into ruthless, remorseless killing machines. This is further exemplified through the characters of war journalism correspondents who are still trained with the notion that they are "born to kill". Also, as referenced by a main character, the duality of man and his intentions are also addressed. On the one hand we want peace, but on the other hand we are willing to kill, kill, and kill to achieve that goal. War in itself is a contradiction.

The pacing of the film is something to aquire. We get so drawn into the perfect capturing of boot camp and training that the thrust into the warfare becomes as an abrupt change. But that was the intention of Kubrick, and the intention continues to linger with a seemingly non existent plot, and a anti-climactic ending. This is war, and for those participating in it - it feel like it could stretch forever.

The real stealers of the film, however, are undoubtedly Ermey and D'Onofrio, who play their parts brillianty (albeit a little hammy of D'Onofrio's part at the end). And through these scenes (especially the shock middle section) we are treated to the only Kubrickian techniques that have been indulged in this picture. The camerawork, and ESPECIALLY the lighting give a clear and sharp response from the viewer regarding the emotional connections with the scene.

Full Metal Jacket is not the best film of the genre (far from it, really), but it is one of the most striking of war films through not only it's graphic imagery, but it's graphic meaning. If you're looking for a thought provoking film, then this is for you. If you're looking for an ambiguous affair, then look further.

Terrific action thriller that shows as one of Arnie's true standouts.

Good comedy, one of Sandlers best.

With a raw authenticity and a striking establishment of a forgotten icon, Lenny is a film that holds true to it's source and the tonal qualities that were pressed and needed to be presented. Bob Fosse, with a short directorial career, has crafted a gem of a film that has become sadly misplaced in the years, but his work here outshines even the very monoliths of 1974 that had beat this film into submission.

Structurally, Lenny is a very rare piece. The film tends to hold an undergarment of a docudrama, through it's usage of direct interviews and lack of musical composition. For most projects, this aspect could have drearily downgraded the film by severely stilting the pacing. Here though, it tends to accompany the soft yet unyielding nature of the visual qualities. At the same time, the film tends to overlay those fabrics with the facade of being a biographical picture that aims to strike with the same maneuvers as it's leading man, a comedian who seemingly ushered in a new age of public acceptance towards the "obscene" and the fight against censorship.

Lenny is a film that holds many truisms to it as we listen with an understanding of the comedian's stance on his material. The public of this era sees only provocative obscenities, but the audiences of the later years are able to see the reality in what Lenny Bruce is saying. His harsh comments speak with an integrity and truth that identifies the flaws in the defenses of prejudice's and social acceptances. And through Hoffman's brilliant performance, we are able to see layers to a man who was destined to reach his self-destruction along his followed path; a man who morphed his life with the morphing of his material and critiquing of society and it's people.

Through a fine screenplay, Lenny is a film that brings a high volume of laughs, but allows itself to be balanced with a care for the progression of these character's. Hoffman gives inflictions of a true character of ambivalence from the audience. There are many points to question the man's morals, yet his stance is ever so powerful that a strange fade comes into focus between his life and his comedy. We laugh at his jokes, but the personal qualities behind the microphone provoke questions. Valerie Perrine gives the performance of her career as the wife of confusion and need. The real star, however, is director Bob Fosse, who has focused his attention on select film departments to get the most out of this film.

A rare feat for the film is that it succeeds in portraying the look, feel, and details of a 1950's America, slowly coming to terms with a generational gap that will shake the societal evolution like never before. The film is picturesque in it's tone - it is serious, but holds an overbearing cynicism and wry smirk that it shares with it's laughter hound. But the cinematography is able to take a further leap through the execution of some astonishing editing, where a vast amount of shots are compiled to add that final layer of visual complexity to an already meaningful film.

Tragic and moving, Lenny is a picture that will stay with you for quite a while. Have the patience to stick with it, and the rewards will be reaped. The only downpoint is that at times the film tends to bring some subtle contradictions to the table. Otherwise, this is perfect filmmaking.

The Wrestler is as warmly inviting as it is shockingly confronting, and as gritty as it is true to life. The film is honesty and heartache, wrapped into an escapist life seen as a waste - only finding value and truth when it all seems too late. Where the Wrestler finds its true audience enticing factors lie not in its stage theatricality, but in the mulling of our battling bag of meat - traversing job to job, and senselessly wading through life.

More often than not, Aronofsky has given his film an almost documentarian outlook - there are constant tracking shots where we follow 'The Ram' in his everyday life. We track his journey and become an integral part in it; he feels that no one is there - a lonely battler - but the audience is put directly behind him. As the man walks through life, questions are asked about his choices - spending money to make money, and breaking skin to sleep in a bed at night.

The Wrestler is a film that both celebrates and pummels the sport at its core, highlighting the stage entertainment that it brings, but balancing it with the eminent dangers. It draws the line between theatricality and harm - where the audience and a buck is given priority over health and future, all in a very confronting nature. Aronofsky tends to rarely soften the blows like the sport condones, but instead makes the audience feel every second of it.

But while our leading character takes a physical battering, it is his emotional journey that can prove more painful. Rourke's transformation is all too real - his hardened face and wilful dedication gives the film an extra level of reality. 'The Ram' is a man that has experienced much, yet seems to have never gone anywhere in life, and Rourke's capturing of these heartfelt notions are immediately noticeable - he is a true standout for the year.

A deep philosophical study embedded inside of an intrinsic narrative, Rashomon shows itself as a rumination on lies, deception, and the commonplace they hold in our deteriorating society. While Rashomon holds heavy subject matter and shines a relatively harsh light on humanity, it holds a form of levity through its bumpy score to its near whimsical characters, which manages to an act as a brilliant overlay highlighting man's ignorance of the meaning of truth. To lie is to step into immorality - yet it remains an ideal sorely lost to the larger community.

Kurosawa's film of a looping story being retold is a fascinating and wide depiction of a very simple premise. The film is something to treasure as a piece of cinema that seems to grow with time.

Gritty, hard hitting, and with blood on the hands Casino Royale is a very different Bond affair to any previous incarnations. This is a film that extends itself far beyond the action heights represented in every other Bond and because of this it makes it one of the most enjoyable of the series and proves once and for all that the Bond films are the action series to beat. Heat was pressured onto Daniel Craig, and he comes through shining in this role by infusing the suaveness of Connery and the seriousness of Dalton, and with his own ingredient of pound for pound physical presence and arrogance he becomes one of the best Bonds yet. Adding to that factor, this is one of the best Bond films yet, achieved through a pointed screenplay that is constantly unfolding into territories not seen by the viewer beforehand, having interesting characters with intriguing interactions, and dashing cinematography in the fact paced action sequences; it was clear that this is the director of Goldeneye. The only fault with this film is that it seems at points as though there may be TOO much in the single film and may prove as being a big hindrance to future films. But, this is a film that has risen from the ashes of Brosnan's late films and has ignited the screen with one of the most entertaining films this year.

Carrey's first 'serious' role comes off very well in a film that is unique in its screenplay.

Evidentally, my expectations for this film of being a 5 star winner were a little too high, however, this is still a very good movie from the controversial director Spike Lee. 25th Hour is a touching story of a man facing the last day of his 'life' before going to prison for seven years. Edward Norton plays the lead role very well, giving the character the layers of confusion coupled with emotional outbursts, and for the most part we really feel for the character. The support cast is sublime, Hoffman and Paquin make a fantastic duo and the addition of Barry Pepper is a surprise spark to the film with a muchly needed vibrant character. The story and flow of the film works very well, however, Lee never truly delves into these characters enough for us to become enthralled in the proceedings on screen, the scenes documenting the character's pasts blend too much into the rythm of the film, and there are no conclusions in the subplots (though with what this film tries to achieve there really isn't a need for finalities.) As with many other Spike Lee projects, 25th Hour has many controversial undertones, some of these coming in the form of contradicting the messages sent by Lee in earlier pieces, and with this being so close to the aftermath of 9/11 it makes these themes much more resounding. 25th Hour is a film that had a lot more potential to be a truly heartbreaking experience, and while it doesn't fully achieve this it is because of Lee's original flair that the film works very well in subtelty and undertones. Once again, Norton does not fail.

What a mind-blowing experience. Memento is a very unique film, not only in its story, but in its filmmaking as well. Christopher Nolan made a huge impression with this film and after seeing this and Batman Begins, he is a director to keep a keen eye out for. The films linearity is one of the key elements to its individualism, where the film runs backwards. We are introduced to the film at it's climax and it is because of this that Memento becomes a film that is great on repeat viewings, there is always something new to notice the next time. The casting and acting in the film is fantastic, not Oscar worthy, but Guy Pearce really gives an insight into his character's mental condition, while Joe Pantoliano perfectly plays the part of Teddy, the guy 'who shouldn't be trusted'. All in all Memento is without a doubt one of the most original films made in recent years and is one to definitley go out of your way to watch.

Freaking genius! Brian Singer makes a hell of an introduction into more mainstream cinema with a mind-bending, plot contorting film with a hell of a twist. The Usual Suspects is a film that has been handled very carefully in it's making in all production processes and all filmmaking aspects and it pays off big time upon viewing the film. The casting of this is simply sublime, each of the five criminals is personified nicely. Gabriel Byrne is the man with all to lose, Benicio Del Toro nicely plays the idiot of the group, and Kevin Spacey was just mesmering as Verbal, the 'gimp' con-man (an Oscar well deserved on his part.) But of course, what makes this film apart from the performances comes in the form of the script and with a story of deception, action, and great character involvement all entangled in mystery and twists The Usual Suspects makes itself as a film to appeal to anyone willing to concentrate on a movie. What has made this film so famous however is it's final twist which, as predictable as it may be, makes for great entertainment and really forces the audience to view the film in a different light. It is worth mentioning however that after viewing this film and it's final twist, a part of you will ponder whether the film really delved anywhere or whether you, the viewer, were conned also.

Intricate yet delicate, East of Eden delves into the pursuit of affection amidst rivalry. The film acts as a refined parable of the war of this time, scaled down to the struggles of a family. Dean is erratic and electric, while Massey is cooled and collected.

A magical, fantastical encapsulation of life and the journey's we take, The Curious Case of Benjamin Button is a film tied strongly to the concept of miracles and how the world and its people shapes us into who we are. At it's core, Benjamin Button makes an enlightening reflection of ageing, through its mirrored - yet still circular - life of the lead. He ages backwards, seemingly reversed from normality, yet experiences the same effects as a person growing normally. Roth's outlook on growing old pits a person as holding many of the same physical and mental deficiencies as being young, which is an odd yet true stamp in the film. The life journey of our abnormal wanderer gives full light to the prospect of the circular notion of life - we end where we began.

Fincher's crafting of the piece is exemplary. His transitions from era to era is seamless, and his visual eye of capturing a moment has never been better. But more than anything he is concerned with the story, and the film is storytelling at a rare peak. Even through it's hefty running time, the brisk pace and sheer likeable characters and scenarios makes the film effortless, yet immensely enjoyable, to watch.

The formation of a friendship through a warm greeting, Nights of Cabiria transcends the structure of a character study to welcome forth an embodiment of life and the introduction to a lovable figure. Where Nights of Cabiria truly finds its strength is through its title character, an everyday woman with the attitude and aspiration for much more, who sucks the audience into her life - we care for her and are constantly on the look out for harm. We question the people she meets and warn her of venturing into predicaments. The film goes much further in creating an embodiment of raw reality, but the understanding of this fiery woman delves deeper than Fellini's pen or camera - the clincher comes through Masina's performance. She is temperamental, involving, and breathes a truly special quality into the face of an already ambitious woman. There are questions to be arisen through the films solidity on its thematics of life, but its ambiguity and sheer power overcome this small aspect.

Noted as being one of the greatest comedies ever to grace the silver screen. Does it live up to that hype? For the most part, yes, otherwise though this is just a very fine film from a masterful director. Kubrick seems to shine with every one of his films, in all of the respective genre's, and his inclusion of Dr. Strangelove into the comedy genre adds to the man's solid repertoire in a near masterpiece. This is a film that derives itself on quick wit and satirical analysis of very serious subject matter, the Cold War and Nuclear arms, but with a brilliant script and fantastic characters- Dr. Strangelove manages to win over the audiences with it's sheer quirkiness with it's humour. "Nuclear warhead: handle with care", "I'm capable of being just as sorry as you are", and of course "Gentleman, you can't fight in here, this is a the war room", are some examples of the gems that Kubrick had infused in this sharp screenplay. However, this is a comedy that forces the viewer to watch, listen, and concentrate as their are many subtleties in the film's making, and, for the humour to take full effect - the viewer should have some knowledge of this era in history. The only other fault with the film is it's length, it could easily have done with an extra 15 minutes. Peter Sellers and George C. Scott shine in their roles and truly steal every one of their scenes; Sellers also masterfully handles his three very contrasting roles with a sense of stark difference in each. Dr. Strangelove may not be the best comedy ever made, but it is certainly up there with them.

The first and still best of the 'mainstream' 3D animation fetaure films.

Definitely has to be considered as one of the all-time great animation films, achieved through emotion, humour, and themes that can be read by young and old

Sharp, edgy, and refreshing - Kiss Kiss Bang Bang provides laughs and thrills in equal measure, delivered through the bumbling of our clueless yet likeable lead characters solving a mystery that, really, has nothing to do with them. The film allows for Downey Jnr's swift talking wit to meld with Kilmer's coolly collected quirks - giving moments of uproarious laughter and awkward chuckles. But more than anything it is the blending of genre that makes the film so impressive. It's reversions from comedy to action, mystery to drama are able to continually avoid any jarring or narrative halts that would otherwise be expected, allowing for a film that flows effortlessly from scene to scene.

A beautiful nightmare full of mysticism and hard earned truths, Pan's Labyrinth delves into the nature of growth and the distinctions between the fantasies of youth and the realities of adulthood. The film isn't so much about the need for escapism from a brutal world, but about the reality of escaping youth itself and entering the domain of adulthood. The film tends to act as a soft sayonara to fantasy spectacles and an invite to the horrors of the world - told through its skillful blend of the realms of the fairytale and the latter parts of the second World War. But where the true strength of the film lies comes in its provocation of the audience and its demand for an outlook. It pokes our imagination and asks whether our believing of this scenario is as iron-clad as our young wanderer. After all - is it all real, and would you have the heart to believe otherwise?

Relentless in it's visual execution and structurally bold, No Country for Old Men is an inditement on societal evolution and the change of the world, catering for the generational gaps. The film mirrors the horrifying collapse of worldly ethics and the lengths that people reach for personal gains. While the film's plot becomes a little thin and jaded at points, it nevertheless provides one of the most impacting thrillers of recent years and one of the finest visual delights of the yesteryear.

...more soon.

UPDATE:

Stanley Kubrick - the most annoying and admirable director. His films have been noted to have a certain maturing quality that alleviates each picture with repeat viewings, and never has that thought been so profound as with Barry Lyndon. It's hard to delve into a Kubrick film on first glance, as there is so much going on. Barry Lyndon is already starting to catch up with me.

----------------------------------

Methodical yet emotionally barren, Barry Lyndon gives a picturesque portrayal of a bygone era, yet in doing so, also manages to distance the audience at a great length. The affair is a striking picture of beauty and detail, but as nicely implemented as the visual qualities of the piece are, the characterisation tends to look marred due to the general tone of the times and of the film.

Very much a film of regality and sophistication, Barry Lyndon maneuvers itself through perfectionist framing in this droll environment. The film is still and often acts in a certain pretentiousness: a possible reflection of the sovereignty of this setting.

Telling the story of the rise in status and class of an ousted Irish rogue, told mainly in two distinct parts, Barry Lyndon is a film that is opened for an expansive consumption through it's departments. But the gamble of the piece is that Kubrick layed a heavy gaze on the sovereignty and times of sophistication for this man as a pose to events that may strike a higher level of entertainment for the audience. The most probable reason for this decision to showcase the most mundane potential of the story comes through the ideal that the search for fortune is not befitting to most people; even though many may have the means and want to achieve these goals.

Barry Lyndon is very much a retelling of the "rags to riches" story, but the podium for the film is placed once the structuring is noted. There is no levity and there is no moral highness for our lead character, who simply smirks and lucks his way through the ordeals of a hard life. We never feel emotion for the character and we never cheer on his cause, as his own moral ambivalence is shown at continuing glances. This, once again, showcases the distance from the film to the audience, but instead makes for a much more heightened focus on the filmmaking techniques and the immersion in these forgotten times.

Like a painting of vivid colour and vibrant placement, the cinematography for the piece makes for it's own artwork. Sumptuous and innovative, the film's exterior acts like a true delicacy that acts as an essential tool in the transporting nature of the film. Through the usage of special lenses, natural lighting is allowed to go hand in hand with perfectionist framing to make for a real and beautiful canvas to which Kubrick has painted onto. Candlelit scenes are flushed of colour, allowing for a soft, sepia-lie gradient to take effect as it slowly ripples with yellow lighting, and outdoor shots bring only what the sun and shading allow.

With the accompanying classical overture of sound scoring and the seemingly timeless set and costume decoration, Barry Lyndon becomes a film that almost feels as if it's dull characters and story of tedium are a purposeful tool used by Kubrick to exclaim the beauty of the surroundings and of his technical film mastery. Next to '2001: A Space Odyssey', this is Kubrick's greatest claim to technical fame, and it sure is a stunning affair to be witnessed.

A masterwork from Lang that acts as a pioneering leap in cinema style and genre, where techniques are pushed and boundaries are extended, and acts as a pathological study in criminality and rights. The aesthetics of the film brim with Lang's flair for atmospheric tension and the usage of plot definition through imagery that results in a piece that works wonderfully in the director's personal transition from silent films to talkies.

What makes the film so interesting is its barren soundscape, where a complete absence of non-diegetic scoring becomes apparent from the opening credits, to the closing scenes. In moments of tension or in moments of ease and quiet story progression - the film remains silent, leaving Langs wondrous camera to speak its words to the viewer. This puts a focus on our main killer's calling trademark - a whistle that proves to be the only form of music in the entire picture; adding to Langs want for cinematic atmosphere and realism.

Furthermore, M never makes full use of itself to define its story depths or lay a concrete conclusion. Yet, this gives the narrative it's own sense of ambiguity and thought. The pathology is the basis for the story's implications, and Lang makes full means of this through his abrupt conclusion and teetering story lines.

Lorre's performance is great enough to almost have an audience sympathise with his sick character, while Langs ability for the encapsulation of a frightful atmosphere will keep audiences hooked through unconventional terms. The atmosphere, the mood, and the dark tension are the basis and thorough delivery of M, which packages itself as a brilliantly crafted example of cinema.

An exuberant and stylistic entry into cinema for Romero, Night of the Living Dead is a film that marvels through it's genius simplicity. The film looks, feels, and acts out as a proud B movie, yet holds the sophistication and thought to be regarded as much more.

...more soon.