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Reviews
I Don't Hate Las Vegas Anymore (1994)
Don't know.
I saw this film in my documentary cinema class about two weeks ago. It strikes me as incredibly idiosyncratic, funny, touching at times, and somewhat of a cinematic journal. What do I make of this film? That is, what sort of frame of mind do I leave the theater with? I don't know. I like Zahedi's commentary, the sort of bookends that begin and end the film-these are hilarious in how candid and improvised they are, not to mention very telling of the film's protagonist. But the sincere and improvised qualities of these portions of the film seem to be undermined by the Las Vegas hotel room sequence. Suffice it to say, the film seems driven by Zahedi's proposition and what he asks of his father and half-brother. Without giving away too much, I wonder if the filmmaker had this in mind all the while, if the film isn't meant to be a diary. Regardless, I ultimately think that this is a wonderful film about family and familial...experimentation. And the road sequences are some of the best and funniest I've ever seen. Highly recommended.
Masculin féminin (1966)
beautiful
I can't get over how beautiful this film is. First, Leaud gives such a wonderful performance, and its humor is easily overlooked; his face, in certain scenes, has an aloof, unsuspecting, and innocent quality, that it ads to his confusion-we wonder how he can be involved in something as serious as the communist party. He travels through his life with a sort of on-purpose, slash, accidental attitude that I can never quite explain. Then, there's Madelaine. Madelaine, with her jet black hair, confusion of love vs. sexuality, and striking beauty, represents everything I love about the women of the French New Wave. Very insecure, but, at the same time, they have definite plans and agendas. Finally, with all of the political and social commentary, it's easy to overlook just how visually beautiful the film is. The two protagonists, in bed, unsure of what to make of their intimate situation. They're so close, so attracted to each other, and Godard puts them in such a beautiful composition and lighting that it almost seems saccharine, but they still don't know what to make of it.
À bout de souffle (1960)
The most French film of the French New Wave
Every 24 frames of every second of this film is a love letter to Paris. With all the talk of "French New Wave" this and "existential" that, it would be easy to forget the amazing images of Paris. For a brilliant, and much more upbeat look at Parisian life than "The 400 Blows", see this film.
Night on Earth (1991)
My Favorite Film
I love this film, and I show it to the people I know I want to eventually befriend. Somehow, I feel it is my personality in summation, and a viewing of it is better than any kind of spoken introduction. Besides the Roberto Bengini segment, the film perfectly illustrates just how beautiful human idiosyncracy can be. When I make lists of the "Top Ten Films" of whatever genre, I never include this film. Some films were put on earth purely to be enjoyed, not to be disected and evaluated, or even studied. I only want to watch and love this film.
This part may contain SPOILERS. I will always love every character, even Roberto's. Corky, with her foul mouth, is content and happy to drive cabs and fix cars. Yo-Yo and Helmut as unlikely a pair of friends as you'll ever see, Roberto has led a bizzare sexual life, and Mika's story is so sad that the reactions it garners are funny. And of course, the blind Parisian woman and her cabbie. This is my favorite part of my favorite film, because it shattered all my preconcieved notions about blind people, and with my mouth agape I fell in love with Beatrice Dalle. Above all, these people are different, but Jarmusch treats them with so much care and affection that they are all equally loveable. In regards to characters, this is the quintissential Jarmusch film, and because they are all easily relatable to the viewer, it is Jarmusch's most accessible film.
To whoever reviews the comments, PLEASE put this on the main NIGHT ON EARTH page. I'm sure that this film means more to me than anyone else who made comments. PLEASE!
Goodfellas (1990)
best of the 90's
THIS MAY CONTAIN SPOILERS, BUT I DON'T KNOW WHAT CONSTITUTES A SPOILER.
Does Goodfellas deserve to be compared to The Godfather? Well, let's see. It should be stated, first, that I am not debating whether or not Goodfellas is a good film; it is a brilliant film and one of best of the 90's.
Goodfellas, like The Godfather, does a wonderful job of balancing scenes of gangster lifestyle, its affect on a domestic situation, and its affect on the individual. Both films are beautifully shot, and the screenplays are superb-making Italian coloquialisms and steady torrents of profanity sound like works of art worthy of Faulkner and Hemingway. But the real difference is Scorcese's ability elicit emotion in every shot, his ability to put meaning in every frame of film. With music, composition, color, mis-en-scene, or acting, Scorsese's direction is masterful and "on-purposes"; no scenes or shots are meant merely to establish a location or a situation: they all have underlying messages.
The simple truth is this: Scorsese is just a better director than Coppola. He, Scorsese, is a technical virtuoso, an unsurpassed master of movement, and a risktaker. Don't agree? Just watch the night club scene-moving through the bowels of the club set to doo wop music. Is any scene in The Godfather as moving as this one? As effective as this one? So, the question is, does the Godfather deserve to be in the same company as Goodfellas?
Sydney (1996)
excellent film noir
Paul T. Anderson has been described as the "epitome of fresh", but this is not in keeping with his film making style. In Sydney, Anderson keeps his viewers in complete suspense by "not showing them". How many of you were anxious to the point of giddiness to find out what John was talking about? Brilliant, right? But a completely obvious and trusted film making device. Maybe it's so fresh because Anderson employs it better than anyone has in a long time.
The dialogue is wonderfuly believeable, stuff you'd hear on any given day, but with a sort of cinematic quality that you can't put your finger on. Maybe it's best described as a Mamet thesis/anti-thesis. Thesis, in that it has a beautiful, memorable film maker's ring to it. Anti-thesis, in that it isn't stylized or flashy. Truly, Anderson is the epitome of fresh.
Passionless Moments (1983)
cinematic cinema
While I really admire this film, a very lovely collection of moments which describe human idiosyncracy, I must say that it is best viewed in a theater. Some films have humor that is so sophisticated, so esoteric, that it demands projection at 24 frames per second, and anything less than the silver screen does not do it justice. Take "Stranger Than Paradise". The editing technique is what makes the film so funny and wry. The full of effect of the technique just doesn't fly on a television screen; t.v. screens just aren't cinematic. Passionless Moments is wonderful, but buyer beware: only purchase the film if you have access to a theater.
The Royal Tenenbaums (2001)
wonderful
What a lovely film. Among my favorite parts is Gwyneth Paltrow exiting the green line bus, set to "These Days" by NICO; like most scenes in Andersons' movies, the music seems to be tailor made for the image. And what about those images? Wow. Wes Anderson's flair for mis-en-scene and composition is impecable, and rivals that of Bernardo Bertolucci's.
Hackman is great; even when his isn't the lead he's the best part of any movie he's in, kind of like Samuel L. Jackson. The relationship between Richie and Margot is strangely touching, remeniscent of The Sound and Fury, and I think I have one of those weird, non-sexual, "I wanna be more like you" boy crushes on Ben Stiller--he's so funny. And of course, Bill Murray, silent or vocal, is hilarious. Huston, Glover, and Owen Wilson or great, too. Everyone has chemistry with everyone, and combined with Anderson's afformentioned talent, it's a joy to watch.
It's obvious that Anderson and Co. love film making because every aspect of it is accounted for, every detail is appreciable by the audience. In "Rushmore", I took one look at Max and thought "I know exactly what this character is all about." At first sight of any of the Tenenbaums, you'll think the same thing. Anderson realizes the significance that one piece of costuming or set dressing can carry. CHEERS.
Anywhere But Here (1999)
Natalie Portman
I absolutely love Natalie Portman in this film. She's so subtle, and when the film calls for emotion, like the cathartic moment in the black dress and the new necklace, she is pitch perfect. I think I can confidently say that she is one of those actresses that will win an Oscar before her career is done; she has the talent, style, grace, beauty, and sophistication of Audrey Hepburn.
Do the Right Thing (1989)
in the last 20 years...
when i think back, i can't point out another film with as much possibility as dtrt, i can't think of a better film from the last 30 years. but wasn't "the godfather" made less than 30 years ago? yes. do the right thing is better. a clockwork orange? this is better. raging bull? this is better. but why? because of the truly challenging message of the film, the question that it asks: who is correct, who is "the right thing"--malcolm or martin? if you watched this film with a careful eye, you would have seen metaphor upon metaphor, all representative of this question. first, there's vito and pino, two brothers. one is in favor of racial harmony, the other isn't. there's radio's love vs. hate monologue, and there's mookie's own conflict over what should be done (in the end, he chose malcolm). but this is not the sole reason to watch this film. it's a marvel to watch, and you'll be surprised by how similar it is to watching citizen kane for the first time. the low angle, high angle camera placement, the expressive mise-en-scene,and of course the brilliant dialogue. i actually compared spike lee to woody allen upon watching this for the first time, even though their filmmaking styles are nothing alike. but think about it. is there another filmmaker alive today who has starred in, written, and directed his own film with as much competency as these two?
Mystery Train (1989)
mystery train and all of jarmusch's films
jim jarmusch affects his viewers in curious ways. in mystery train, he presents a series of situations, sometimes filled with off-beat humor, sometimes filled with tenderness, and, in one instance, characterized by one violent moment. on the whole, every moment is affecting, every moment is moving. jarmusch sees the world with such sensitivity and humor, such affection; there is no place for cynics or satirists. jarmusch has never emphasized technical virtuosity. his virtuosity, rather, is his ability to place characters who he obviously cares for in situations which endear them to the audience, his ability to show, with simple gestures and moments (like mitzuko's unorthodox cigarette lighting technique) our beauty, humanity's beauty, is our idiosyncracy and differences. steven soderbergh states that technical perfection is not as important as cinematic energy. jarmusch films have energy; it quiet, polite, lovely energy, but energy nonetheless.