jmcody Reviews

Horace and Pete (2016)

Brilliant. Poetic. Heart-Breaking. Honest

[10/10 · 29 December 2022]

Now streaming (as of this writing) on Hulu, this 2016 limited series deserves an appreciating audience. Louis CK transcends comedy and drama and creates a unique, poetic portrait of characters. Writing for adults, CK desires to populate his frame with honest insights into the depths of humanity. Invoking the spirits of Clifford Odets, Eugene O'Neill, Clifford Odets, Tom Waits as well as the terse rythyms of David Mamet, Horace and Pete unfolds more like a series of plays than a TV series or movie. The dramatic events bounce up against the dark comic moments which ground themselves in specific explorations of identity, family, place, and mental health. This is not an experience for the faint of heart. It fills itself with equal parts of tragedy, and heart-breaking honesty. Its truths will not always sit comfortably, but this is an easy and accessible price to pay. The cast is loaded with heavy hitters. Steve Buscemi, Alan Alda, Jessica Lange,Laurie Metcalfe, and the great Edie Falco all deliver brilliant, three-dimensional performances. Other amazing cast members appear throughout the solid ensemble. The cast alone deserves savoring. The second episode even contains a gentle song from Paul Simon. Louis CK's direction, writing, and performance also stands alongside the best dramatic work of the decade. Please give this work of art your attention. While often unpolished and unvarnished, it provides many gems and treasures.

The Wolf of Snow Hollow (2020)

Fun, Bizarre, Smart Mashup

[7/10 · 13 October 2021]

If American Werewolf in London had a baby with Northern Exposure and then that baby went to a twelve step program, and while it was there, in the church basement, had a one night stand with Twin Peaks while It's a Wonderful Life plays in the room upstairs this film would be the result. Well written, acted, beautifully photographed, and filled with moments wryly funny, gently poignant, and even scary, this film works to keep many tonal plates spinning as it carves its unique narrative. Containing many allusions to other films (the Silence of Lambs-like climax inspires giggles and goosebumps in equal measure), the film provides a pleasantly entertaining experience. Director, writer, and actor Jim Cummings takes the craft of film making and film history seriously as well as the intricacies of family dynamics and recovery. The film also features the last film performance of the great Robert Forrester and this is something to be treasured. Also, the film (NO SPOILERS) ends with a great use of Auld Ang Syne.

Inside Moves (1980)

An overlooked and underrated gem worth discovering.

[9/10 · 20 May 2021]

After hearing about this film for years and remembering seeing it on the Betamax shelf at the video store I used to work (remember those?), I examined the cast and settled in to discover this quiet, adult (in all the right ways), intelligent, big-hearted, well acted, well written, and delightful slice of life. Featuring an amazing, understated performance from John Savage as well as a stunning debut from the always solid David Morse, this film enjoys intimate and tender direction from Richard Donner. Diana Scarwig deserves her Oscar nomination with a heartbreaking and personal investment. The film captures the earthy, gritty street honesty of the best of the 1970's films with the 1980's optimism. It also features some great cameos from the 1979-80 Golden State Warriors (Robert Parrish, Phil Smith, and Clifford Ray). It is a positive spin on the ground the music of Tom Waits and The Iceman Cometh among other pieces of literature cover. Seek out and enjoy this overlooked gem.

I Know This Much Is True (2020)

Stunning, epic, emotional, authentic, and brilliant work

[10/10 · 15 June 2020]

This six episode mini series proves a call for celebration. While this piece, based on a popular novel, does prove an emotionally involved experience which will leave the audience drained after a multi-faceted carthartic story. Filled with uniformly model performances by a deep bench cast, this complex, layered, intimate, and nuanced production will hit the audience hard with its epic, emotional, and purely authentic narrative. Amidst the heaviness are surprising obsidian-black comic moments which make this a must see. Ruffalo and the rest of the cast and crew should see Emmys. Do not miss this treat for all adults who desire literate and mature portrayls of life which prove delightfully true.

Sometimes a Great Notion (1971)

A fine, workable adaption of an excellent but unfilmable novel

[27 December 2000]

Kesey's superb epic novel with its shifting points of view and verb tense is far too complex a work to adapt directly. Kesey's prose while exceptionally cinematic in its description and action ironically proves unfilmable.

That said, Paul Newman and his production team have created a most admirable and solid, if rather top heavy adaption of Kesey's excellent novel.

The dialogue while rather shallow and weak in spurts (Kesey's rich vernacular is lost)is overcome by a wonderful ensemble cast featuring some of America's finest. Who better that Henry Fonda to play Newman's father? Richard Jaekel richly earns the Oscar nomination as the dim-witted but enthusiastic born again lumberjack Joe-Ben. The famous scene where Newman tries desperately to save Jaekel's character from drowning is heartbreakingly tragic and darkly comic. It is a marvelous example of direction.

Newman spent a great deal of time in my native Oregon researching the part and the film and his homework shows. Kesey's rich descriptions of the land remain largely intact. The sense of time and place is impressively captured in the photography of rusting metal, dripping ferns, rotting wood and mildewed carpets. This is a film that one can almost smell.

Newman is one of the finest artists ever to come out of Hollywood. Not only as an actor, but also as a director. He instinctivly knows how to illicit naturalistic, comfortable and utterly human performances from his casts and Sometimes a Great Notion is no exception. Well worth a look. 7 out of 10 stars.

Seconds (1966)

"Every man has inside him, a key left unturned."

[9/10 · 9 August 2000]

Seconds, directed by John Frankenheimer, may be perhaps one of the greatest American movies that no one has ever seen or heard of. It's obscurity is a real crime considering that the inferior (but still very good) American Beauty and the absolutely retched Eyes Wide Shut have enjoyed greater notoriety while dealing with exactly the same material. In fact a great festival would be to show all three films together. Although one may want to shoot themselves afterword. Seconds, like all the great tragedies, truly is a pessimistic and depressing film on one hand, while on the other hand managing to elate the viewer in terms of the incredible mastery of storytelling craft that is displayed. The acting, script, direction and photography all blend perfectly together to create a shattering and unforgettable experience. The narrative, dealing with a middle aged suburbanite getting a chance at a new start via a shadowy company with real Satanic overtones, is filled with haunting, frightening and utterly truthfull revelations about the fragile human conditions. Arthur Hamilton/Tony, the sad protagonist (expertly played by both John Randolph and Rock Hudson(!)) finds all too late that there is no place like home, and once you're gone, you're gone. "Every man has inside him, a key left unturned." is a lesson that Hamilton/Tony doesn't learn until it is too late. This great quote is fact of our existance that ultimately we all must come to face and accept. Our choices will then lead us to either making our present state better or diving off into changing what cannot be changed: the past. I don't want to give away too much of the plot but that is my over riding impression. Watching this film is not escapist entertainment. It is challenging, disturbing and creepy. It is however, a work of art. Don't miss this. A 10 out of 10.

Das Boot (1981)

Gritty, ultra realistic war film

[10/10 · 20 June 2000]

I'll be brief. The introduction tells all one needs to know about the history of the German U-Boat crews. 3 out of every 4 ended up dead. Yes, the Nazis were a force that needed to be defeated in order for civilization to survive. That fact understood, this film reminds the audience of the ultimate inhumanity and immorality of war. The fact that I, as an American audience member, found myself sympathizing not with the crew's (they, the "other" side) cause, but with their humanity is a testament to the power of film. I just saw the director's cut of this fine film today and it reinforced and enhanced what I already had experienced the first time I became immersed in this film's narrative. Gritty, well acted and written, claustrophobic, agonizing, tragic and utterly believable, Das Boot is simply one of the finest war films ever made. Search out the Director's Cut and don't you dare miss it. It is a contemporary classic. A 10 out of 10.

An American Werewolf in London (1981)

Landis' best film: a classic horror/comedy

[8/10 · 6 June 2000]

With the exception of Micheal Jackson's Thriller, this is the greatest work John Landis ever produced. This comedy/horror hybrid is fast paced, brief and to the point, frightening, sexy (the use of Van Morrison during a most erotic sex scene is sheer genius), subversive (the Jewish in-jokes are really a Jungian buffet of imagery), and funny.

Much has been written about the Rick Baker special effects and they are truly stunning and there isn't a hint of CGI to be found. The famous transformation scene is the best of the werewolf sub-genre as it is well-lit and performed with Sam Cooke's golden throat silking "Blue Moon" on the soundtrack.

Landis also manages to celebrate the classic horror film while also gently spoofing it. A contemporary classic not to be missed. A 8 out of 10.

American Movie (1999)

a funny, tragic, honest and ultimately inspiring documentary

[10/10 · 2 June 2000]

This may actually the finest film of 1999. No I'm not kidding. This documentary directed by Chris Smith captures the very spirit of artistic compulsion. Smith does the smart thing any documentary filmaker should do: he keeps invisible and refuses to judge his subject.

As the viewer watches Mark and his efforts, no matter how funkily aggressive they may prove, to finish his films. He refuses to compromise and suffers repeatedly as a result. But lest we forget, remember Speilberg, Scorsese and others started just as humbly.

And what a great subject he chooses. Mark, his family and friends are all fascinating characters, far more than any character created in last year's fictitious cinematic products.This film oscillates on the dime between comedy, tragedy, touching sympathy and leads us ultimately to inspiring any viewer with an urge to create, despite talent issues, to get off their butts and make something.

The film is about maverick artists and their passions. It is also about families, no matter how co-dependent and disfunctional they may be and how unique and beautiful that organism truly is. Mark proves in the film to be utterly devoted not only to his dreams, but also to his family as well- and they to him.

Why this film was not nominated for documentary of the year is beyond me and criminal (that is assuming it was eligible last year). This film is to be sought out and treasured.

Dazed and Confused (1993)

an excellent and most truthful depiction of teenage life

[25 May 2000]

This film's massive cult following has led to the recent rise in marijuana use among teens. At least in the small town I hail from. The film does depict a carefree, consequence free and nostalgic look on an era of casual drug use. As a high school teacher, I have heard more than one fan say "I wish I could go back to that year, it is certainly a more innocent time." The jaded side of me would absolutely relish Linkletter making a sequel to this film and re-examining these characters thirty years or so later as they confront the ultimate choices of their lives and maybe even meet their offspring behaving the way they did. These characters, like most teenagers (I certainly remember my years) are all pretty much hedonistic, self centered and consumer based individuals. I really would like to see what happened to them as they matured and became producers. Would their lives mirror mine? Probably most definitely.Anyway, that weak moralizing aside, Dazed and Confused is a great movie that focuses on character, situation and setting as opposed to any real plot. There is no great conflict and therefore no real resolution to its narrative. In fact, because he refuses to judge his characters, Linkletter allows them to truly live in the unnamed Texas town. Like his earlier film Slacker, Linkletter simply allows the film to evolve without any impositions of classic storytelling. He wants his characters to tell their stories on their own terms. Scenes happen as opposed to beginning with any set pattern. His camera is so completely neutral that it manages a near documentary feeling in creating honest and personal spaces. He avoids the whip lash editing so many of his peers love in favor of long, loopy and dreamy takes. Scenes are funny not because of snappy, slogan filled one liners like so many other teen flicks are, they work because they set up truthfull situations that the characters can honestly respond to: moments sketched exactly out of the hormone driven evolutionary soup that is high school.The film is also extremely economical. There really isn't a wasted scene. Linkletter also doesn't bow completely to the audience: there isn't a tacked on nudey sex scene or all out violent episode. Such inclusions would be exploitive and common- qualities this film avoids. The film begins en media res and ends much the same way.The performances and writing in the film are seemless and natural in their execution. Many may be turned off by the super natural delivery as it opposes any sort of dramatic tension. These young actors inhabit their characters completely without a false note struck. The body language and coded language of teenage life is dead on. Granted not everyone in 76 or now uses drugs and drinks to the extent idealized in the movie (it is interesting that we don't see anyone puking or wrecking their muscle cars- again that would be moralizing, exploitive , you name it), but yet the costumes and behavior are dead on. I especially love the dorky tight shorts and pulled up socks of the super macho football coaches.Linkletter captures perfectly the fears, hopes and overall attitudes of teen life better than John Hughes ever could have hoped to. With the exception of Cameron Crowe's superb Say Anything, this is the greatest teen film ever made. A 9 out of 10.

One Flew Over the Cuckoo's Nest (1975)

Simply my favorite movie of all time

[10/10 · 17 May 2000]

This is my favorite movie of all time. I'm not saying it is the greatest ever made- there are many more titles that could easily vie for that title. This movie isn't really a film in the sense that there isn't a particularly memorable piece of camera work or composition. However, director Forman knows what to do: he gets out of the way and lets his actors tell the captivating story of the individual courageously fighting for identity against "the machine".

Cuckoo's Nest is an actor's movie. The ensemble work here by Nicholson, Fletcher, Lloyd, Redfield, Lasker,Sampson, Devito and the rest is amoung the finest ever captured. I can not find a false note in any of the performances. These actors fully inhabit the skins of these characters and therefore, create three dimensional people.

The script is air tight as it oscillates between comedy and tragedy often not only in the same scene but in the same take. I know Kesey has disowned this film and I don't blame him considering the experience he had, however the film compliments his novel nicely. Many of my favorite lines in film history are in this movie. "Least I tried, G*******t, least I did that!" is a motto that has guided my life.

When viewed with its near twin Cool Hand Luke (my third favorite film of all time), one can see the possibly dated, but no less intriguing subtext of the criminal/prisoner as savior. Many souls are saved as a direct result of McMurphy's (and Luke's) ultimate sacrifice.

The film is entertaining, enlightening and reflective without the ever so slightest hint of pretension.

With each viewing (I've seen the film probably 30+ times) it appears as fresh and beautiful as the first. A definate 10 out of 10.

Streets of Laredo (1995)

A solid,if downbeat chapter in the magnificent series

[9/10 · 13 May 2000]

Granted, both the original Lonesome Dove novel and film are unique works of extremely fascinating classic story telling. Streets of Laredo obviously has a great deal to live up to and, when viewed or read in conjunction with Dove, it does suffer in the sense that our familiarity is slightly snubbed. Of course not much can measure up to the original, and so obviously this is something that cannot be helped. This sequel is far more brutal and violent that its predecessor. Violent death or at least the threat of it is an ever present character awash on Laredo's landscape much more than Dove.That said, Streets of Laredo as a film stands firmly upon its own merits which are quite impressive.Firstly, the cast is sublime. James Garner, always a vastly underrated actor, creates a stoic yet tragic Call. His final scene is at once heart breaking and resonating with strong quiet hope. His performance is all about what film acting aspires to become: he moves mountains without words.The rest of the cast is on equal footing with Garner. Playwrite Sam Shepard's Pea Eye, although losing much of Tim Scott's original Bentonesque forlorn rube, is filled with earthy heroism and and poetry. Sissy Spacek, as the whore re-incarnated as a schoolmarm Lorena produces the tough backbone needed to survive the Texas prarie. Comedian George Carlin's finely drawn panhandle scamp solidifies the theory that the border between comedy and tragedy is narrow at best. These are just a few of the excellent standouts in the sound ensemble.Secondly, there is the very narrative itself. It plays like a Sunday funeral dirge-ever aware of the passing of an era, yet peering into a glimmer future of simple optimism and hope. In McMurtry's frequently brutal world, everyone has a shot at redemption. Grace isn't free but it is availble to all willing to run the gauntlet, as long as they have a pure heart. In this film, pure of heart may not necessarily mean pure of deed, but at least evil is evil and good is good.This film bravely balances the aformentioned violence with scenes of wry humour and gentleness. In that regard, Laredo comes the closest anyone has come to honoring Peckinpah's greater works.The film, because it was produced for television is already mostly forotten by the minnions, but richly deserving of an audience. Enjoy and Savor.

Apocalypse Now (1979)

The quintessential american movie

[10/10 · 13 May 2000]

The great film, Apocalypse Now, although certainly not the greatest American Film ever made, plays much like America herself (himself?). Coppola said during the film's premier that the film isn't about Vietnam, that is is Vietnam. He certianly could be talking about the native country he hails from as his creation almost perfectly captures the glorious imperfections that is The United States.Since I am only limited to 1000 words, I'll try and be brief. Like America, Apocalypse Now is: frequently pretentious and obnoxious, overbearing and white male dominated, carthartic and broad, bold and imperialistic, beautiful and yet unforgiving, mad, violent, loud and sloppy, over running with great ideas (some fullfilled-others half baked), exhilerating and mortifying, haunting and sentimental, holy and evil, deadly and vibrant, rough and cultured, exploitive and exposing, terrifying and harrowing, reverant and still extremely defiant, plentiful and thoughougly wasteful, independant and slavish, liberal and yet somehow conservative in its worldview, and therefore, ultimately consistently fascinating and stunning. There has never been anything like it before or since. It is an experiment that no film maker will ever be willing to gamble with again in creating. Like a true work of art, this film is unique and one of a kind.Coppola's film reaches the hallmark of many great works of art- it refuses to allow the viewer to sit on a philosophical fence. Because the film is pure cinema in its use of visual and sonic images to tell a story, Coppola forces the viewer to react firstly emotionally to his narrative (the intellectual side can be engaged later if need be). One will either hate it or love it- there is no middle ground. This is much like the world's image of America as a country. Based upon the many mult-national contributors to this outstanding sight, my native country is viewed in those devisive terms. Based too on the many views of this film, the world is split as to whether or not this film is the work of a mad genius or an ugly prententious waste of time. In that respect, the only other film that comes close to Now is in fact Kubrick's 2001. For I can think of no other film that has split so many viewers. For this reviewer, Apocalypse Now is the film 2001 wants so desperately to be. Whereas, I find that film distant and cold, Now is exactly that: immediate and captivating.Now is not the work of a cold visual genius, it is instead the work of a fevered madman desperately holding on to his camera in an effort to keep himself from falling into the abyss. Based upon his career since, Coppola didn't stick to the high ground- he fell.Much like America herself in oh so many examples.Although not a perfect film, Apocalypse Now is a great film. It is the quintessential American Movie. A 10 out of 10.

Butch Cassidy and the Sundance Kid (1969)

A fine piece of effortless entertainment

[10/10 · 1 May 2000]

I fully admit that much of my passion for this film lies in the fact that it is one of earliest memories of seeing a movie. It is virtually impossible to remove this film from the memories of my parents and how they looked at the end of the 1960's-early 70's. My folks fancied themselves The Sundance Kid and Etta Place in terms of their dress, attitudes and values. This is not to suggest they were outlaws (maybe in the eyes of Nixon administration they were) but rather folks interested in an older time that never truly existed. That personal testimonial aside, I still love the film on its own merits. It isn't a work of art to be sure, but it is a fine example of Hollywood creating new myths based upon real legends. The performances of Redford and Newman are so seemless that it is easy to blur the lines between acting and being a movie star. It may be fashionable to knock their work in this picture as Hollywood confection, but I dare any other actors of the time to pull off these performances. There use of silences and evaluations are far more effective than their dead one line delivery- the mark of a fine acting craftsman. The fact that I as an audience member immediately accept and believe wholeheartedly their circumstance and become lost in the story is a testiment to their ultimate artistry. Conrad Hall's photography is both breathtaking and heartbreaking. He truly creates a romantic look at a time and place that truly only could exist in historic imagination. It is one of the few films I would absolutely love to step into out of real life. Director George Roy Hill knows exactly how to economically stage a scene while remaining invisible. He varies the stories pace effectively between tension, whimsy and gentle tragedy. His humour is remarkably subtle and sophisticated without the slightest hint of condensation to the audience- a hallmark of a good director. William Goldman's script does not simply rely on clever one-liners as so many imitators have in creating similar scripts. It is actually poignant in its simplicity and humour. The scene where Butch and Sundance, although mortally wounded still find the courage to dare to dream about a future is really what fine writing and performing is all about. Butch Cassidy and The Sundance Kid is a classic film in the sense that it never fails to entertain and touch the heart. Some may find it rather saccarine and manipulative now in this age of cynicism and media hype. I don't and since being a film fan is based so much on raw emotional response to a visual story, this is mine. This film is well worth its rabid following as it appears so effortless in its ultimately entertaining journey. A 9 out of 10.

Dog Story (2000)

An interesting twist in the desperate heist genre

[7/10 · 6 April 2000]

I recently just viewed the preview of Dog Story and found myself fully entertained by this Resevoir Dogs meets Benji twist in the contemporary noir inspired heist genre.

Filmed in rural eastern Oregon, the film concerns the efforts of Roy, an ex-cop desperate to pay back a debt to a local crime boss, to make one final score. Throw into the mix his wife, a dog, a crooked cop, two real menacing henchmen, a badly beaten up armed guard, a few rednecks and a small town Hugh Hefner and the result is a fast paced (at eighty minutes)crime caper.

Made on a very low budget, the film (granted we watched a rough cut) has some frayed edges that will be tightened up through time. The framing is obsessed with close one shots and the editing slices up sequences far too quickly. The film desperately needs exposition in the form of establishing shots.The script leaves character relationships loose and wide open and probably could have used some clarifying.It frequently seems far too intent on providing the one-liner in favor of creating fully inhabited human beings. We the audience are frequently unsure about the history of characters and their inter-relationships.

I appreciate the fact that the film attempts to have nearly as many characters found in a good crime novel. Movies are frequently afraid of populating the narrative with more than five people. I only regret that we don't get to spend more time getting to know them.

But why quibble, the humour is well placed and clever and, to quote Shakespeare in Love, "There is a bit with a dog." Actually there are several bits. The bits are all surprising and they will remain in the film.

The supporting cast, largely made up of local Theatre professors and actors all have fascinating faces.The film is well cast in terms of the potential stories written in the emotional road maps etched on their faces.

Writer/lead Adam Golumb certainly has a solid screen presence as does Maria Cina, portraying his wife. The film is certainly worth a look as it attempts to mix genres, a most rare commodity in today's "we have to classify things exactly" film world.

Frankenstein Meets the Wolf Man (1943)

a sheer guilty pleasure

[27 March 2000]

This film is over acted, over written, highly sterotyped and under budgeted. That said, I have to admit that this is one of my favorite films because it somehow proves to be completely entertaining.

Much has already been written at this sight about how the film is really not a Frankenstein picture, but really nothing more than a direct sequel to the Wolfman. Understanding that any sequel to the Wolfman requires the narrative to be carried on the back of the ever eager, always extremely sincere but ultimately flat Lon Chaney Jr, one watches this film with the full knowledge that that will not be watching a work of art. And that is why the film works for me.

Roy William Neil, working with an inferior script, does not aspire to any of the coy, cynical artistic pretentions of the superbly talented James Whale. His work here is journeyman at best and merely profecient. He is though throughly professional. His film whisks along at a lightening fast pace. He thoughly understands that this is nothing more than cinema junkfood and plays up the atmosphere. His compositions are economical yet fluid and his staging very theatrical. This film boasts the best transformation sequence in the original series and Neil relishes in the fantasy of this plot. The film may be laughable sure in many sequences, but it is never boring.

In fact, I have seen this film probably sixteen times clear though and each time, it has managed to hold my interest.

Lugosi's performance as the monster is delightfully stiff and one dimensional. One gets the sense watching the film, that he knew he blew it by not accepting the role originally offered him in 1931, and although he does give it a college try, the role is beyond his florid theatrical style (which served him so well as Dracula) and he self consciously knows it.

The black and white photography is crisp and shadowy and on par with the best Universal had to offer at the time (notable especially in the newest film to tape transfer).

This film is pure entertainment and a pleasurable time passer. A six out of ten.

Lock, Stock and Two Smoking Barrels (1998)

a fast paced, original and entertaining crime-romp

[29 January 2000]

Guy Ritchie does the near impossible with this hip, ultra fast paced and throughoughly entertaining crime caper film: he out Tarantinos Tarantino. Using lightening fast editing and adreniline induced camera work, he fills the screen with an utterly delightful, if that is the appropriate term, film. Tarantino often is far too self congradulatory about his infinite film knowledge. Ritchie manages to revel in his obvious influences (Scorsese's Mean Streets, Tarantinos Pulp Fiction,as well as A Hard Days Night) while expanding upon those film's themes and energies. And what is more than this, Ritchie infuses his film with a true high moral sense of responsiblity and accountability. A high octane 10 out of 10.

The Straight Story (1999)

A beautiful, economical and hearfelt movie

[17 January 2000]

One of the great keys to telling a great story on film lies in not what is said and done, but often what isn't. The Straight Story is exactly that: a story about sticking to the essentials of story telling and leaving out anything extra. It is so promising that this film was made even at all. All too often, Film makers treat their audiences like idiots and feel that every motivation, thought and reaction must be dictated through rapid editing, snappy one-liners, super stunts and CGI effects all set to a blaring soundtrack. The Straight Story is a movie about quiet truths and requires the audience to fill in the blanks. Fine case in point: in the film, Alvin Straight (Richard Farnsworth) listens to a woman vent about running over deer. As she screeches off in her compact car, Alvin simply stares down at the deer. Usually, the filmmaker will insist upon some quick quip that comments on the action and the character, but not here. We simply move on to see Straight cooking a piece of venison over a campfire while being stared at by deer molded lawn sculpture. There are many other sequences just like that in this rich film. Sissy Spacek, Richard Farnsworth and the rest of the cast give fully fleshed out and three dimensional characters. The film is quietly moving without the slightest hint of sentimental seasoning. Thank you David Lynch for creating a genuine work of American Film Art. A 10 out of 10.

King Kong (1933)

A classic work of world literature

[9 January 2000]

Most great works of world literature can all be traced, I believe to either The Bible or Homer's Odyssey. When closely scrutinized, all classic works contain some sort of quest. That quest can either be for the truth or for a sense of home. The original King Kong, is not only one of the finest fantasy films ever made, but a great piece of literature because it encompasses those two quests. Granted, many of the film's elements have dated. Certainly that is the case with some the hammy, overwrought, stereotyped and even at times wooden performances. In our "enlightened", post Marlon Brando-Actor's Studio, age of acting appreciation I think it is all to eager to lay such a criticism on films from that quaint period known as the 1930's. And even though Kong gives the best performance in the film, the actors do their job and tell a believable and captivating story. Filmmaker Carl Denham's quest for truth and his odyssey is what fantasy films are all about: a journey into a fantastic and strange new world. His desired exploitation of that savage and innocent world is what tragedy is all about. Kong's quest for safety and dominance in his natural habitat makes for a great metaphor for our modern age. So many of us have been uprooted by forces seemingly beyond our control and we all want to find our place back where we came from. Unfortunately that quest often leeds again to tragic results, Kong unlike Dorothy ( a story that obviously greatly influenced the screenwriters of Kong) dies. So much has been already written about this great influential film, nothing I say here will be original or enlightening necessarily. It is just that in this day and age of CGI and garbage like ID4, Armeggedon(sp) and Wild Wild West that is (or at least once was possible) to use special effects to enhance a story as opposed to letting the screen technology engulf any semblance of humanity. A most certain 10 out of 10.

Frankenstein (1931)

Karloff was, is and always will be one of the greatest!

[9/10 · 9 January 2000]

Say what you want about the creakiness of the plot and some of the seriously dated performance techniques that are quite laughable. Say too what you may about the fact that this film has really nothing in common with the gorgeous novel. But please enjoy Boris Karloff, possibly the most overlooked and underrated actor in film history. Karloff's craftfull creation is simply one of the finest performances ever lensed on film. It may be one of the two or three great performances never awarded the oscar. Largely a pantomime creation from an actor trained on stage, the creature is not only terrifying, but hauntingly human and tragic. What Karloff is able to do with just the simplest of gesture of roll of the eye is what acting is all about: telling a truthfull, electrifying and emotional story. The academy and the industry underutilized this expert craftsman. Because of his odd looks, there was admittedly a limited market for him. However in many respects he was as good as Sir Olivier and could have been used in oh so many ways. I urge you to take a look at this film if for no other reason than to savor an expert example of acting for the film. A 7 out of 10

The Grapes of Wrath (1940)

A classic of the human condition

[10/10 · 8 January 2000]

I think it is most ironic that independent filmmakers claim to despise "the Hollywood" film in favor of making "personal cinema" when one looks at the films of perhaps the most Hollywood sytem ingrained and yet stunningly personal films of John Ford.His films hold up because they display his personal love of character, land, place (there is a difference), time, honor, tradition and ritual. The Grapes of Wrath is one of his finest pictures. His obsessions and political leanings come to life in Steinbeck's haunting and searing narrative.I agree with many of the other IMDB reviewers, there is much in this film that is pure leftist propaganda and that Reifenstahl and Eisenstien's influence can be seen. This is certainly true in the masked stormtrooper bulldozer montage. But propaganda, like the very medium of film itself, operates on pure emotion. This film is loaded with one emotional image after another. The photography of Gregg Toland matches the best of Life magazine in its immediacy and realism, while at the same time dramatically recapturing the best of German Expressionism. There are so many frames that could stand as works of photographic art. The look of the film stands proudly next to the work of Benton, Hopper, O'Keefe, Capa, and Bourke-White as examples of American visual art.The cast is uniformly honest, sincere and utterly real in thier inhabitation of character. John Carradine, Russell Simpson, Jane Darwell, John Qualen and the great Charley Grapewin all give performances that are on the level with anything ever produced from a Actor's Studio graduate.Enough can not be possibly said about Henry Fonda's performance as Tom Joad. Simply put it is one of the finest characterizations ever captured on film. He was not just an American pop culture icon, he was a fine dramatic artist.The script captures much of the best of Steinbeck's novel with fantastically illuminating and human quotes. It preaches to be sure, but never at the expense of the narrative. This is a lesson so many "serious" film makers have yet to learn.The film has not dated in terms of its impact on the heart. Grapes of Wrath is about a specific time and place in American History yes, but it is also about what it means to be a human being. In that sense, it transcends nationalism and is fine work of World Literature. It is on equal with Citizen Kane as one of the finest films ever made. A 10 out of 10.

Charade (1963)

a perfect piece of classy and classic entertainment

[10/10 · 30 December 1999]

I'll be brief. This romantic comedy thriller hybrid is an absolute treat. Starring the classiest of actors in both Cary Grant and Audrey Hepburn and directed with continental style and flare by the incomparable Stanley Donen, this film is not to be missed. The photography (especially noticable in the new DVD version), Henry Macini's score, the taught and crisp script, the perfect supporting cast all add up to make a perfect piece of entertainment. I agree with many of the other IMDB writers- it is criminal that this film is not respected more. It is a blueprint of what makes a movie fun. A perfect 10 out of 10.

The Long Riders (1980)

A flawed but beautiful modern western

[7/10 · 29 December 1999]

The script is a cliched mess, filled with lines that are forced retro-mythological and obvious. Several of the performers appear to sleepwalk through their roles and yet this film by director Walter Hill somehow works. The photography by Ric Waite is absolutely dreamlike in its beauty. The costume design is romantic without being frilly. The cutting is tight. Hill's framing is carefull and rich and most of all, Ry Cooder's magnificent score all add up to make a flawed, but rich western film well deserving of a bigger following. Personally, if I could walk out of real life and into the imagined world of a film, this film, along with Butch Cassidy and the Sundance Kid, A Hard Day's Night, The Adventures of Robin Hood and Lonesome Dove would be one that would be ideal. The technical achievements of this film all work together to overcome its other limitations. It is a film that truly creates a unique atmosphere of a time and place that really didn't exist in history but rather folk tales and American Legendary Dreams. My advice is to buy Ry Cooder's soundtrack on CD, put the tape in the VCR, turn down the sound and enjoy. A 7 out of 10.

A Hard Day's Night (1964)

The most pure unadulterated expression of joy ever put on film

[10/10 · 29 December 1999]

One of the biggest reasons film holds the effect over us the way it does is because it appeals to our emotions in ways some of the other arts cannot. This is because film incorperates sound, theatre, painting, dance and writing. That dry polemic aside, A Hard Day's Night is a fine example of what film can do. This film is one of the purest expression of joy in cinema history. What made the Beatles so fantastic as performers and ultimately as cultural icons, is they personified all of our hopes and dreams. We all wish we could be as expressive and has happy as they appeared to be. I know that much of what we see is fabricated, but one cannot fake the explosion of life we see on the screen and hear on their records. There was the celebration of life and creativity in those four young men and they shared so much of it with us. This film is a great document as to what made them so great. Richard Lester, the director, got out of the way and let them be the Beatles. The camera work and editing in this film arguably made the '60's cultural revolution. It is a perfect marriage of music to image. Without this film there never would have been an Easy Rider or even an MTV (on second thought, maybe that wouldn't be such a bad thing). Of course John, Paul, George, and Ringo couldn't completly match their images in their private lives (who could?) and of course they matured and evolved as we all have. But this film inspired many to live, to love and to create. It is such a force of positive life affirming love that it has to be savored and enjoyed. I don't apologize for dripping over it the way I do. It is a great film, on the level with Kane, Singin' in the Rain, The Seven Saumurai and others. It should be so much higher on the IMDB scale.

The Last Waltz (1978)

Yes, this is the best rock concert film

[10/10 · 28 December 1999]

Martin Scorsese the one director who can make film sing captures the Band's farewell concert as if it was truly a celebration of musical passion wedded with craftsmanship. Coming along for the ride are some of the finest musicians of the 20th Century: Eric Clapton, Van Morrison, Bob Dylan, Joni Mitchell and Neil Young and others. Scorsese's camera sours, tracks and dances around his subjects. The Band members themselves prove to be insightful, honest if rather surely. Their music is as American as a Thomas Hart Benton painting, and as rich. Their musicianship is stunningly played out as they play back up band to the finest musical artists (okay Neil Diamond isn't quite there but who cares). This is not a film to be missed.