jonathandoe_se7en Reviews

Johnny Got His Gun (1971)

"Each man faces death by himself... Alone"

[21 October 2001]

For years after seeing Metallica's "One" video I had wondered where the images of the poor wounded soldier had come from, then earlier this year I found out. I watched Johnny Got his Gun for the first time last week, and I must say it was a bit of an anti-climax. For the most part Joe just lies in a bed, his thought's made clear to us in a mixture of voice over, flashbacks and surreal dream sequences. The theme of the film is very important, being trapped inside you're own mind, having to die alone, the futility and stupidity of war, but the film is just to drawn out, with not enough of the text of Trumbo's novel translating to the screen. The book is too cerebral to work as a film.

Another problem with the film is that people in other comments have given away Joe's afflictions; part of the horror of the film is the slow realisation that Joe has lost his arms, then his legs, then his face... If this was a surprise we might be able to feel more for Joe, but we don't know enough about the character to really feel for him, he's far too anonymous, the most we can do is pity him, this may be the point of the film I'm not sure... But if Trumbo wanted us to identify with Joe he went about it the wrong way.

The acting isn't bad, Bottoms does very little, the main standout is Jason Robards as Joe's father, and Donald Sutherland turns up as the human manifestation of Christ. But far too many of the scenes just don't work (I found the scene where the nurse gets involved with Joe whilst he dreams about his former girlfriend both laughable and in poor taste). The ending just about manages to save the film, being sad without being what you would have predicted, but I can't help feeling that the film worked better with Metallica's heavy metal in a four-minute video clip. The novel may be a classic, but the film is not.

A Matter of Life and Death (1946)

Beautiful

[10/10 · 20 October 2001]

A Matter of Life and Death, what can you really say that would properly do justice to the genius and beauty of this film. Powell and Pressburger's visual imagination knows no bounds, every frame is filled with fantastically bold compositions. The switches between the bold colours of "the real world" to the stark black and white of heaven is ingenious, showing us visually just how much more vibrant life is. The final court scene is also fantastic, as the judge and jury descend the stairway to heaven to hold court over Peter (David Niven)'s operation.

All of the performances are spot on (Roger Livesey being a standout), and the romantic energy of the film is beautiful, never has there been a more romantic film than this (if there has I haven't seen it). A Matter of Life and Death is all about the power of love and just how important life is. And Jack Cardiff's cinematography is reason enough to watch the film alone, the way he lights Kim Hunter's face makes her all the more beautiful, what a genius, he can make a simple things such as a game of table tennis look exciting. And the sound design is also impeccable; the way the sound mutes at vital points was a decision way ahead of its time

This is a true classic that can restore anyone's faith in cinema, under appreciated on its initial release and by today's audiences, but one of my all time favourites, which is why I give this film a 10/10, in a word - Beautiful.

Sexy Beast (2000)

Shouldn't be compared to "Lock Stock..."

[7/10 · 14 October 2001]

This should not be compared to over-rated rubbish like Lock Stock... Sexy Beast is an interesting and grown-up crime thriller, thick on style and character. The story is all about loyalty and betrayal, a two act story involving retired hood "Gal" Dove (Ray Winstone), living the good life in a Spanish villa, he has it all, good friends, a good woman by his side, nothing could ruin this, that is until Don Logan (Ben Kingsly) arrives with a proposition.

I'm not going to go into the second act, because it will only ruin the surprise of the film, all I can say is that Sexy Beast if top notch entertainment. The two main characters are fantastic, Winstone's subtle performance has been overlooked by most, possibly down to Kingsly's terrifying portrayal of Logan, who would have thought he could be so electrifying, the scene where he talks to himself in the mirror is brilliant. But Winstone is just as good; you can almost smell his fear.

The rest of the characters are slightly under developed, Ian McSahne's crime lord Teddy Bass is practically a caricature of every London hood that's ever been portrayed. But first time director Jonathan Glazer makes up for that with his assured handling of the actors and the material, never letting his pop promo roots (Radiohead, Blur) take over the story. There are many surreal sequences in this film, which might be off putting to some, but for the most part Sexy Beast is a great way to pass ninety minutes.

7/10

Cast Away (2000)

Flawed, but Good

[7/10 · 14 October 2001]

Cast Away is a very good film; I've put off watching it for a while because many people have told me it's boring, well it's not. True, if I had to see just ONE actor on an island for about two hours then Tom Hanks would not be my first choice, but to his credit, he is very good. The film starts by showing us the day-to-day triviality of the FedEx department and their task master boss Chuck (Hanks). After bidding goodbye to the love of his life Kelly (Helen Hunt) he boards a plane. Of course the plane crashes on a desert island leaving Chuck the soul survivor.

The Island scenes are the best of the movie, Hank's everyman personality helps us identify with the character greatly, he isn't skilled in action hero, jungle tactics, so the smallest things can create a problem (making a fire for example). The photography by Don Burgess is also spectacular, the use of deep focus lenses letting us take in the full beauty and at times terror of the island, making Chuck seem small and insignificant in the middle of this huge unknown territory.

Four years pass and Chuck has now become skilled in hunting for fish, and now with his only companion's Wilson the Volleyball, and the picture of Kelly he must make the decision to stay on the island, or take the step to get home.

SPOILERS

The problems with the film however is that Zemeckis doesn't know what to focus on, sometimes he shows us Chuck experiencing things, but the "four years later" tag that fades up on screen means we miss a great deal of interesting discoveries, Chuck's suicide attempt, how he's managed to figure out the months and days. The tag seems lazy, as though Zemeckis just couldn't be bothered to take the extra time, instead rushing towards the sentimental ending.

This is another problem; the ending just isn't handled correctly. Four years has passed but Kelly just excepts Chuck like he's been gone for a couple of weeks, never mind the fact that she's now married with a daughter. It's up to Chuck to tell her it's over, which I just didn't buy. Personally I don't rate Hunt as much of an actress, I think she gives the same performance in every film and this is no exception. We never get a real feel for her character or their relationship prior to Chuck's crash so it's hard to feel any real pain for them. I was more upset by the loss of Wilson at sea.

SPOILERS END

It's such a pity that the ending of the film couldn't have been more satisfying, because for the most part Cast Away is a fascinating and well-acted drama, a film not afraid to take risks. Just a shame about that ending.

7/10

Ninja Scroll (1993)

Why can't they make "real" films like this?

[8/10 · 13 October 2001]

From my young teen day's I was a big Anime fan, but now only a few of these film really excite me, one of them would be Ninja Scroll. Ninja Scroll is a fantastic, samurai themed action adventure; filled with imagination, especially with the designs of the bizarre creatures that inhabit the strange take on Feudal Japan. There is also some of the best animation ever, take Jubei's fight with the blind swordsman in the forest for instance... The animator's under the direction of Anime guru Yoshiaki Kawajiri (Monster City, Wicked City) have created a mood and atmosphere that only animation can pull off. And the fight scenes, this must have been what Ang Lee was hoping for with Crouching Tiger, Hidden Dragon, but animation has no limitations. It's definitely the best in Kawajiri's loose trilogy, much better than Wicked City and definitely on par with the pretty good Monster City (which was probably a prototype for this film). So if you're not put of by the strong scenes of gore, but you like animation at it's finest, then give this a try.

Pinocchio (1940)

"Once upon a Time"...

[8/10 · 13 October 2001]

Pinocchio is one of the best-animated films ever made, what can you possibly write in an Internet review that would possibly make it better. Pinocchio is all about childhood fears, fear of being abandoned by you're parents, not fitting in, deciding between right and wrong. There is so much in Pinocchio for every generation to admire and think about, which makes me sad when I look at how many people have taken the time to comment about it. When a film is as timeless as this, so timeless that it can be practically re-made (A.I. Artificial Intelligence) more people should be watching it, It's one of the finest animated films ever made and a true Disney Classic, much darker than some of Walt's other productions, which might be off putting to young children, but for me Pinocchio is essential viewing.

Rebecca (1940)

Hitchcock proves himself the Master

[9/10 · 7 October 2001]

With Rebecca, his first US film Hitchcock proved without a doubt that he was one of the truly talented and gifted film makers ever to pick up a camera. There are none of the bold plot devises and cranked up tension in this film, something that Hitch would later make his own throughout the rest of his career, Rebecca relies on performance. With the great acting, production design and cinematography Hitchcock creates an intensely dark mood.

The shadows of the house and the look and feel of everything, the fog that fills the air, the pure black and white images draw us into the story, we don't know what's going to happen next but we can't wait to find out. This use of almost expressionistic style only helps to compliment the performances of the leads. Laurence Olivier is fantastic as the tortured Mr de Winter, a character full of dimensions, we don't know weather to hate him or feel sorry for him, and his performance is so well timed and so well judged that everything fits him. He gives the character both a restrained villainy and a sense of saddening loss at the same time.

Then we have Joan Fontaine as "The Second" Mrs. de Winter, her quiet and shy performance means we can feel for her immediately. Her curiosity in finding out the truth behind Mr de Winter spills out onto the viewer, making us all the more interested in the mystery. There is also Judith Anderson as Mrs. Danvers, giving a fantastically devilish performance. Rebecca is all about mystery and intrigue, with a little bit of romance and mild black comedy, that is why I have tried to say as little about the plot as possible, because with Hitchcock it's best to go in knowing nothing at all. And with Rebecca you will be in for a rewarding experience.

Not Hitchcock's best, but definitely in the top five. 9/10

Nurse Betty (2000)

Highly enjoyable

[8/10 · 6 October 2001]

Wow, this film really blew me away, I'd seen clips of it when it was shown at Cannes last year but watching it I didn't know what to expect. This film is amazing, maybe not the best picture ever made but definitely underrated, it's just one pleasant surprise after another. The script is razor sharp and the characters highly interesting, rare for films these days.

The actors are also essential in carrying the film, and Nurse Betty has a great ensemble. We have Pruitt Taylor Vince and Crispin Glover as a pair of small town nitwits, Greg Kinnear as TV soap actor George McCord... And then we've got Chris Rock and Morgan Freeman as a couple of two-bit hit men. Rock has shown great promise in his live stand-up routines but until now he's never displayed any real magic, and then there's Freeman, talk about a change in direction, I've never seen him this intense, cursing up a storm, he may get a little too `Freemanesque' towards the end but for the most part he comes of as Samuel L. Jackson's cooler, meaner, older brother.

But the real treasure here is Renée Zellweger as Betty, in the early days I thought she was annoying but with this and Bridget Jones she's really showing herself to be one of the best actresses around. There are times when we don't even recognise the performance because we are so wrapped up in the character of Betty. She conveys the loss and subtle fear of the character and her mishmash of emotions excellently and what a shame she didn't pick up any serious awards (I think she got a Golden Globe though) because this is one of the best performances you will see.

LaBute does a good job with the material and the switches between light-hearted fantasy and molasses black humour are handled with expert precision. I haven't seen his previous films `In the Company of Men' or `You're Friends and Neighbours' but after this I might just check them out. But be warned, when I say pitch black comedy I mean it, Nurse Betty has some truly astounding moments but they all add up to the brilliance of the film, and even if the lead up to the ending becomes both tragic and farcical the actual ending is highly rewarding.

Nurse Betty is a film that most might not be in any kind of rush to see, but I urge you to give it a try. It's a funny, sad, darkly comic and deeply serious film full of great characters, writing and direction.

9/10

The Nightmare Before Christmas (1993)

Annual Yuletide viewing in my household

[10/10 · 6 October 2001]

The Nightmare Before Christmas is a highly imaginative, endlessly watch able and highly entertaining slice of gothic Christmas entertainment. It's full of great and catchy, memorable songs (`This is Halloween', `Christmas Town') wonderful set pieces and interesting characters. The plight of poor Jack Skelington as he longs for something new is something that everyone can identify with. Producer/Writer Tim Burton, Director/Animator Henry Sellick and Composer/Singer Danny Elfman have really out done themselves and created a magical story of the lonely outsider, only trying to fit in, but messing everything up. This modern classic is annual yuletide viewing in my household, and as animation goes, this is one of the best.

10/10

Nosferatu the Vampyre (1979)

Dracula as a lonely old man.

[7/10 · 29 September 2001]

Werner Herzog is not the kind of director you would expect to make a horror film, which probably accounts for the slow, hypnotic (but never scary) atmosphere of the film. Herzog, although a genius, always strikes me as someone who enjoyed filming nature more than actors, and this could never be clearer than in the scenes where Jonathan Harker (Bruno Ganz) makes his way to Nosferatu's castle. Beautiful yes but does it have meaning, this film isn't saying anything-about man and nature, like say Aguirre or Fitzcaraldo... This is a story about people.

So lets move on to the people, firstly I would like to say just how awful Isabelle Adjani's performance is, it really sinks the film. I can't help feeling that Herzog cast her only for her beauty. Bruno Ganz does very little, which isn't really fair, he does do quite well towards the beginning of the film, especially the scenes that take place in the Castle, but the film moves on and he is forgotten. But now we come to Kinski's Nosferatu, now I cannot agree with people who say that this performance isn't something special, and it's with this performance that the film really takes off.

We get the sense for the first time that being a vampire isn't all drinking blood and seducing women, Kinski's vampire is in real pain. Herzog and Kinski have envisioned their Dracula as a lonely old man, frail and weak, a man angry at the predicament his condition has left him in, sure he's more Mr Burns from The Simpsons than actually terrifying, but like I said, Herzog could not make a horror film, he is a thoughtful and poetic film maker.

I would rate Nosferatu: Phantom der Nacht (The Vampire) as 7/10, the film is just spoiled by Adjani's performance, and a slight feeling of boredom whenever Kinski isn't on screen. But for lovers of beautiful visuals and haunting mood, Nosferatu can't fail.

Throne of Blood (1957)

Lacks depth, emotion and balance.

[29 September 2001]

Akira Kurosawa's Kumonosu jo (Throne of Blood (1957)) is not a great film, I'm sorry I can not agree with the majority of people who have commented so far, but to me, Throne of Blood is not a successful film. The first problem is that the film, and the characters are not nearly dark enough we get no actual depth. This is supposed to be based on Macbeth, but Macbeth is an unbelievably brutal and dark work, something that is only hinted upon here. I believe that Kurosawa over reached, he'd been hailed as a genius and the acclaim had clearly gone to his head. Perhaps I see things this way because I'm not a fan of his work, I'll be the first to admit he was a very talented man, but most are blinded by the cold and static nature of his films, he wasn't a quite poetic soul, his films where just dull. That's another problem, there is no real emotion in this film, and once again Macbeth needs this emotion if we are to care about the fall of these characters. The look and structure of the film is also a problem, the slow panoramic shots of the lush Japanese scenery and the slow, structured cuts soon become irritating. It's a nice change from Kurosawa's usual fast and furious battle scenes but it doesn't feel right for this film. I hope you take this into consideration when choosing to view this film, but if you want to see a true Kurosawa classic, see Ran (1985) instead.

The Hudsucker Proxy (1994)

Words cannot describe the brilliance of this film.

[9/10 · 23 September 2001]

This is a pretty hard review to write because mere words cannot describe the brilliance of this film. I mean how on earth can I tell people they might like this film, on paper the plot sounds so boring, Man Invents Hula-hoop... Oh and there's some romance and fantasy in it too. Okay, how many people will want to watch a romantic fantasy about the invention of the Hula-Hoop and the fall of dim-witted Norville Barnes (Tim Robbins). To quote John Goodman in the Coen's Barton Fink (1991), "I can feel my but getting sore all ready".

Well, one things for sure, I know I love it. This film is so funny and warm, rarely is a film so simply beautiful but the Hudsucker Proxy is. It's also full of really smart references to the films of Frank Capra, Howard Hawks and Sturges, screwball comedy with a touch of romanticism. The acting is also impeccable, one of the greatest actors ever Tim Robbins is brilliant as the mugging goon Norville. And then there's beautiful Jennifer Jason Leigh as Amy Archer, with her great spin on the Katherine Hepburn roles of the forties and fifties.

This film is a true original, clever, inventive, funny, romantic, stupid, just a pleasure to watch from start to finish and a must see for any fans of the Coen Brothers. I'd also like to point out the fantastic performance by Jim True as the elevator operator; he should definitely do more comedy. So this review is probably of no use to anyone, but trust me, give the film a try and you might just find it one of the best romantic screwball comedies ever made.

God bless those Coen's 9/10

Time Bandits (1981)

Gilliam's dreamer Trilogy: Part 1

[7/10 · 23 September 2001]

This was the first part of former Monty Python member Terry Gilliam's dreamer trilogy, a set of films that looked at a similar male character, lost in their own little world, trying not to get crushed by the system. Time Bandits is probably the least successful of the three, possibly because there is still a strong air of Python about it. Now I like Monty Python, but that style of comedy just does not gel with this kind of film.

Time Bandits is all about Kevin (Craig Warnock), a young dreamer trapped in a dull suburban life. It's only when a group of time travelling little people emerge from his wardrobe with a map stolen from god that the film really takes off. Now, that's all well and good, but the problem with Time Bandits is that two much of the film is inconsistent, Gilliam's imaginations just runs wild and the story goes from one extreme to another.

There is also way too many celebrity cameos, John Cleese as Robin Hood, Ian Holm as Napoleon, Michael Palin and Shelly Duvall turn up twice. And then there's Sean Connery, who has a lengthy scene in the middle of the films as King Agamemnon. Even if it does pull it's self together in the end, the film is still flawed bacause of this.

Also, for a family film, Time Bandits is unbelievably dark; with a downbeat ending to rival that Gilliam's follow up Brazil (1985). Still, it's worth watching as a great comedy/fantasy, but much like me, you'll love it when you're about ten, but as you grow up a lot of the film's power will be lost.

7/10

I'm Alan Partridge (1997–2002)

I couldn't stop laughing!

[22 September 2001]

I'm Alan Partridge is the funniest show of the last five years, not one joke misses the mark. Shot in spoof documentary style, the show follows fallen TV star (now Radio Norwich's star personality) in his day-to-day quest to get a second chance. The reason this show works is because of the stupidity of Alan, a racist, bigoted, closet bi-sexual who just doesn't know when to shut up. He's just so tactless ("You sound like the girl form the Exorcist" he says to a producer who has no vocal cords). In print I'm sure the show sounds stupid and offensive, and in a way it is, but I'm Alan Partridge is endlessly funny, witty and inventive, and if you get a chance to see it then do so... Fast. I really hope Steve Coogan gets picked up by the US; he has the potential to be the next Peter Sellers.

"Smell my Cheese" 10/10

Four Rooms (1995)

"I'm in a situation I can't begin to explain."

[22 September 2001]

I've decided to review each segment separately, this may take a while so if you can't be bothered please feel free to move on, but I'm trying to save you time and money.

Segment#1: The Missing Ingredient

Aka this biggest piece of sh*t I've ever had the (dis)pleasure of viewing. If you want to see how not to make a short story then watch this segment, it's badly timed, badly judged, badly acted - just plain bad. I gave up watching the film on the first attempt because this was just awful, why the hell did they cast Madonna, avoid at all costs. (1/10)

Segment#2: The Wrong Man

Things don't get much better in Rockwell's piece, the cinematography and production design are nice but besides that the entire thing is just dull, the plot is just too deeply structured to work on this small running time. More threatening than comedic; let's move on. (3/10)

Segment#3: The Misbehavers

Believe what others have written, this IS the reason to watch this movie, brilliant non-stop hilarity as Tim Roth's Ted the Bellboy is left in charge of two brat-ish troublesome kids. Rodriguez has a great handle on the mixture of slapstick farce and black comedy that's very satisfying. Things can only get better... (9/10)

Segment#4: The Man From Hollywood ...Except they don't. Tarantino's segment is good enough, lots of experiments with primary colours and long stedicam tracking shots, but you can't help thinking the film is just pandering to Tarantino's ego (he play's the biggest star in Hollywood). But the ending works well and the tension built is fantastic. (8/10)

To finish, Four Rooms would have been better if they had scraped the first two monstrosities (Anders and Rockwell where riding the coattails of Rodriguez and Tarantino anyway and have no where near as much talent) and kept the film as an hour-long TV special. If you must watch it, fast forward the first two segments, you'll save a lot of time and effort...

Overall rating 4/10

Suspiria (1977)

Fantastic use of colour and editing make up for dull performances and weak plot...

[22 September 2001]

Fantastic cinematography and editing are what makes Suspiria a good film, besides that the plot is paper thin and the characters dull, but this is a horror film, so as long as it has thrills and shocks it's fine, and Suspiria has enough thrills and shocks for about five films. Dario Argento really out did himself here, although I can't really comment, because this is the first Argento film that I have enjoyed (I've only seen three). But the colours, there just fantastic, each frame is a rich tapestry of deep red's, green's and blues, working towards Argento's hidden meanings. The editing is also good, cut to the loud clanging rhythm of Goblin's rock score, and it really creates a form of terror rarely seen in most horror films. Even if Argento was taking the whole "Italian Hitchcock" tag a bit serious with the first twenty minutes, and the ending is a bit silly, Suspiria is still worth the watch... Don't know why they had to dub Udo Kier's voice though.

In the Realm of the Senses (1976)

This isn't Art, this is Porn...

[22 September 2001]

Having studied Art for a good deal of time I can tell you that it is supposed to be a meaningful and/or personal expression on the part of the artist, it's supposed to say something to people that they will react to. Well I reacted to Ai no Corrida, but that's where the definition of art ends. Ai no Corrida (In the Realm of the Senses) goes so far with its sexual explicitness that there is no meaning, all the Director Nagisa Oshima wants to do is shock, and he has succeeded. Now I'm not a prude, I've enjoyed films like The Idiots, The Fourth Man and (one of my personal favourites) Breaking the Waves immensely, and each of them contained strong graphic sex scenes, but they never seemed too explicit, they seemed like the natural reaction those characters should have. With this film however, it just seemed pornographic. I agree with others though, this is a very well acted film, and should be watched if you're serious about movies, but if you want a beautiful story of undying love then watch Breaking the Waves, and avoid this high brow slice of Porn.

Alice Doesn't Live Here Anymore (1974)

Someday Scorsese will get his respect.

[8/10 · 22 September 2001]

Although frequently hailed as America's greatest living film maker, some could argue that Martin Scorsese still does not get the respect he deserves. Alice doesn't Live here Anymore isn't the same kind of flashy, attention grabbing film as it's predecessor Mean Streets (1973) or Scrosese's Alice follow up Taxi Driver (1976), this finds Scorsese in a rare thoughtful mood, offering the female flipside to Travis Bickle's male show of emotion. But Alice Doesn't Live Here Anymore is just as good as those two films.

It shows Scorsese's ability to take on a very simple project, and through his talent and urge to experiment, make it something that seems very fresh and very exciting. Take for instance the fantastic opening, a badly dubbed, red tinted play on an old studio film. Then we are brought into the film with a blistering crane shot down the street and to the window of a non-descript suburban home.

The plot should be boring, nothing much happens for a while, but thanks to Scorsese's energy we can't stop watching, he manages to make us care about the characters. But he's not alone, he's helped by probably one of America's greatest actresses Ellen Byrstyn, she makes Alice a desperate, funny, lonely, independent, yet still pathetic character, that's what's so great about this film, all the characters are so brilliantly three dimensional.

Plus there's wonderful support from the always-reliable Harvey Kietel, Diane Ladd, and the youngsters Alfred Lutter and Jodi Foster. The only let down of the film is Kristofferson, he really didn't have the talent for such an important role, one can't help thinking that perhaps they should have had Kietel and Kristofferson to switch roles, that might have worked better.

I think one of the reasons Alice is so forgotten is because of the brilliance of Taxi Driver; it completely over shadows this small little film. Or maybe because it's a little to dependant on characters for today's audiences, that ending just wouldn't fly with the Pearl Harbour/Sixth Sense crowd of today's multiplexes. Any way I would recommend any fans of thoughtful seventies cinema to seek out this great film immediately, and see one of the best films from America's greatest living film maker, and most underrated actress.

8/10

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

"Mien Fuhrer... I can walk"

[8/10 · 22 September 2001]

Possibly the greatest ending of a film, completely in fitting with Kubrick's obsession with man's tendency to destroy his fellow man, a theme very clear in all his films. But for a film directed by possibly America's greatest Director ever, this film needs to be seen for another reason, Peter Sellers.

Sellers is so good in this movie it's unbelievable, not only does he deliver one good performance but three (count 'um) three. Never have I seen such comedic brilliance since Alec Guinness in Kind Hearts and Coronets. Sellers makes each of the characters totally believable, from Group Capt. Mandrake, to the uptight President Muffley and the brilliance of Dr. Strangelove himself.

There's also Slim Pickens riding that bomb, that's the kind of image that will raise a smile for the rest of my life. And although the film isn't really "Blazing Saddles" laugh out loud funny, it has a nice subtlety; the satire of the situation is so absurd and pitch black that the natural reaction is to laugh.

Dr Strangelove goes alongside every Kubrick film as essential viewing, and this, his only true comedy make the occasion all the more important. It's definitely not his best film, but it is Sellers', and the ending has to be seen to be believed... "Mien Fuhrer, I can walk": true genius.

8/10

The 4th Man (1983)

You don't want to watch, but you can't turn away!

[8/10 · 20 September 2001]

Paul Verhoeven's De Vierde Man (The Fourth Man) is one of the most compelling thrillers I have ever seen. It really was a pleasant surprise. The story concerns bi-sexual writer Gerard (Jeroen Krabbe), as he is lured into a relationship with beautiful hairdresser Christine (Renée Soutendijk), but in the twisted mind of Gerard there could be more to the story. Verhoeven and cinematographer Jan De Bont create a beautiful and thick atmosphere full of surreal and sickening sexual imagery, this really pulls you into the story, you don't want to watch, but you can't turn yourself away. This is by far Verhoeven's best film (maybe second only to Robocop). True The Fourth Man isn't for everyone, some of the sex scenes are quite gratuitous (just ignore them, but trust me, if you watch for at least ten minutes you'll be hooked. This is one of those films that you need to know how it ends, a true whodunit it in the Hitchcock tradition, compelling, controversial and thrilling. I even like the spider metaphor.

8/10

Alien: Resurrection (1997)

A visual freak-show of a movie, in every sense of the word

[7/10 · 16 September 2001]

Alien Resurrection is probably the most detested of the series by fans, I don't really know why. True, it's not great, the beauty of Jean-Pierre Jeunet and DP Darius Khondji's vision doesn't make up for the weak acting (what the hell is Winona Ryder doing here) or the laughable script, but Jeunet cannot make an uninteresting film. From Delicatessen (1991) right up to Le Fabuleux destin d'Amélie Poulain (2001) he's proven that his beautifully surrealistic visual can create a perverse sense of wonder and terror, and with Alien Resurrection he's in full swing.

The film is a visual freak show in every sense of the word, full of bizarre mutations and characters, but the script just lets the film down. This seems to disregard the character of Ellen Ripley, I know she's a clone but they should of given her a little more emotion, think about what the poor woman went through. The scriptwriter Joss Whedon gives us no true hero; Ripley is a shell of her former self so we just don't care about her. To rap up, Alien Resurrection is a decent enough standalone film, but as part of the franchise, it's definitely the weakest.

7/10

Aliens (1986)

Game over man!

[8/10 · 16 September 2001]

The best thing about the Alien franchise is that the producers used a different director for each film, it really allows the film it's own individual signature. First up Ridley Scott made the slick and beautiful ghost movie Alien (1979); later David Fincher would deliver the dark and downbeat Alien 3 (1992), followed by Jean-Pierre Jeunet's twisted mutant Alien Resurrection (1997). So where does that leave Aliens (1986), well much like the other films it perfectly represents the director's style and career.

Aliens is a dark, damp, atmospheric action movie, possibly one of the best action movies ever made. The characters are totally believable (even if Bill Paxton's Hudson is unbelievably annoying) and the mother daughter relationship between Ripley (Weaver) and Newt helps crank the tension of the final reel right up to 11. But the reason this IS one of the best sequels ever is because it gives us what a sequel should, the character we love in a new and interesting situation. Cameron's style also helps, along with cinematographer Adrian Biddle; they create a tense and gloomy blue-lit labyrinth full of danger.

Even if it does loose points for the annoyingness of Hudson, and the fact that I don't think the director's cut is all that good (it adds too much making the film seem strained) this is a top notch action thriller and a noble sequel to Ridley Scott's classic.

8/10

Roxanne (1987)

Charming little comedy that teaches us to look for the inner-beauty in people.

[7/10 · 15 September 2001]

Roxanne proved to the world the true comic genius of Steve Martin, as both writer and Star, and even if his work has gone a little mawkish of late (although Bowfinger was great) this proves his true talents. Roxanne is an update of the French classic Cyrano de Bergerac, now focusing on big shnozed fire chief C.D. Bales as he uses dimwitted new boy Chris to woo local astronomer Roxanne (Hannah). Little does he know that Roxanne believes that Chris is the true author of C.D'S romantic letters and falls madly in-love with him. The plot is pretty much identical to Cyrano, with the exception of a friendlier ending, but the film is still a charming little comedy with some great standout moments (C.d. taking on the golfers, the famous "Is that the best you can do" scene, the "Can I fluff you're pillows' line and any scene featuring Michael J. Pollard). It also has a very nice message telling us to look deep into the inner beauty of people. Roxanne may be no classic, but it has enough charm and beauty to warrant many a return viewing. So if you're looking for romantic comedy at it's best, Roxanne can't fail.

7/10

Don't Look Now (1973)

Very Cold supernatural thriller...

[7/10 · 15 September 2001]

Don't Look Now was sadly overlooked in 1973, possibly because of the recent release of The Exorcist, and as much as I admire that film (mainly for Ellen Burstyn's performance) the two are incomparable. Firstly The Exorcist relays on cheep special effects, where as Don't Look Now gets right under the skin. Everything is so subtle that most viewers miss the important stuff.

The use of the very grey colour scheme helps set up the coldness of the characters, the events and loss that they have gone through. But THAT opening, brilliant, it's unbelievably one of the best scenes in film history, Nicholas Roeg's camera work and editing are flawless, if you where ever going to do a study on cross-cutting or juxtaposition then Don't Look Now is the film to see.

Don't Look Now is a cold and chilling supernatural thriller, with more reasons to see it than the sex scene or the ending (although they are standouts), the performances are also brilliant, with Sutherland and Christie showing a kind of screen chemistry that's very rare nowadays, giving John and Laura the believability the plot requires. This is a great, underrated and as others have said, sadly forgotten film.

Rosemary's Baby (1968)

Chilling tale of a woman pushed to the edge, and there's a message too.

[9/10 · 8 September 2001]

Obligatory SPOILER WARNING

What would you do if you woke up not long after believing you're child had died at birth, only to find a group of mean old witches sitting around a baby cradle chanting "All hail Adrian, son of the devil"? Well, that's a predicament that Rosemary Woodhouse has to face at the end of this movie.

Rosemary's Baby is a true classic of the horror/chiller genre, I think it's a film that's going to appeal more to women or men with children, because it taps into the fears and anxieties of childbirth. The ending of the film is a metaphor, because Adrian is the son of the Devil, it becomes a play on deformity, and Rosemary has to come to the conclusion weather or not she can still love him unconditionally.

This is timeless stuff here, and people who say it isn't scary obviously should go and rent a cheap slasher movie or something along the lines of Friday the 13th, this is chilling psychological horror at it's most subtle. Polanski's direction goes in for that sixties feel, lots of colour and no-nonsense angles, it does make the film seem a little dated, but it also gives a very creepy atmosphere to the apartment (a la Repulsion).

The performances are also good, the main standouts being Farrow as the innocent Rosemary, and Cassavetes is good as the scheming Guy, but all acting plaudits would go to the excellent Ruth Gordon (remember her from Harold & Maude) as the Woodhouse's nosey neighbour. This is serious and intelligent horror from one of cinemas sadly forgotten directors that I would recommend to anyone.

9/10