tag:blogger.com,1999:blog-73126834284345659952024-03-04T21:30:58.828-08:00The Cinematic JourneyTheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.comBlogger71125tag:blogger.com,1999:blog-7312683428434565995.post-1061782722081189252020-04-21T22:14:00.001-07:002020-04-21T22:14:47.313-07:00Review: 47 Meters Down (2017)<b>Directed by: Johannes Roberts</b><br />
<b>Written by: Johannes Roberts and Ernest Riera</b><br />
<b>Starring: Mandy Moore and Claire Holt</b><br />
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I went into <i>47 Meters Down </i>with low expectations. I wanted some turn-off-your-brain entertainment and saw that this was probably gonna be a lackluster entry into the oversaturated, yet completely underwhelming 'shitty shark' genre. In some respects, this film is a pleasant surprise, but in others it doesn't deviate much at all. The final result is mediocre. It's sometimes quite thrilling, but often leaves you sighing at its contrivances. <b><u>SPOILERS AHEAD.</u></b><br />
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Two sisters are on vacation in Mexico. Lisa has just broken up with her boyfriend, so Kate suggests they go cage-diving with sharks to bring some excitement to an unhappy situation. Something however goes terribly wrong. After the cable breaks, the two women plummet 47 meters into the depths and are near-unable to communicate with the boat above. They're now fighting for survival as they're surrounded by great white sharks and running out of oxygen.<br />
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I have somewhat of a phobia of sharks, but I have an even more considerable phobia of open water. I don't like the feeling of being surrounded by an immense open space and not being aware of what's in it. The film capitalizes very well on these fears through its atmosphere. The murkiness of the deep water creates feelings of paranoia and confusion. It's a little disappointing that with this established the film then resorts to unnecessary jump scares. It transforms a slow-building sense of dread into an abrasive shock.<br />
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While <i>47 Meters Down </i>performs decently in the area of visuals and using that to create atmosphere, it falls short in writing in that it feels artificial and shallow. On character, Lisa and Kate are stereotypes seen in 1000 movies before this. Lisa is an inhibited damsel-in-distress carrying a lot of anxiety, and this gives Kate the role of the encouraging friend. Once submerged, these two stereotypes basically become indistinct from one another. The other weakness is the writing is too much happens by pure convenience. The cable snaps and cage sinks for convenience, the sharks disappear at the right time for convenience, the film defies some of the very science it claims for convenience. Finally, the ending rescues its lead through little action on her own part. There's a twist that actually diminishes what could have been a decent ending.<br />
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<i>47 Meters Down </i>is suprisingly better than I expected it to be, but I don't think that necessarily makes it a good film. It doesn't capitalize on what, in my opinion, is an excellent premise and what it does accomplish in playing on our fears it loses to bad character and story development. Acceptable, but you can spend your time better.<br />
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<b>My Rating: 5.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-66062283853112630382020-01-29T19:59:00.001-08:002020-01-29T19:59:38.565-08:00Review: Exorcist II: The Heretic (1977)<span style="font-family: inherit;"><b>Directed by: </b>John Boorman</span><br />
<span style="font-family: inherit;"><b>Written by: </b>William Goldhart</span><br />
<span style="font-family: inherit;"><b>Starring: </b>Linda Blair, Richard Burton, Louise Fletcher and Max von Sydow</span><br />
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<span style="font-family: inherit;">I must have been 15 when I first saw William Friedkin's <i>The Exorcist. </i>I remember being excited about finally experiencing what was reportedly the "scariest film ever made." I did enjoy it, though I found much of it sluggish and over-the-top. It's been ten years since and I've developed more of an appreciation for it as I've matured, though I still don't hold it in as much esteem as countless cinema fan. Frankly I think it's outdated, largely because it tapped into the anxieties of a fervently more religious society that was America in the 1970s. It's a landmark in film history, which makes for an interesting comparison with the film I'm gonna discuss.</span><br />
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<span style="font-family: inherit;"><i>Exorcist II: The Heretic </i>takes place four years after the original. Regan MacNeil has grown into a sociable teenager with an interest in performing arts, but is afflicted with nightmares and repressed memories following her demonic possession. As she undergoes care with psychiatrist Dr. Gene Tuskin, we meet Father Philip Lamont, a priest tasked with investigating Father Merrin's earlier actions and their connection with Regan.</span><br />
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I hold the view that sequels to <i>The Exorcist </i>didn't need to exist. I was content with the conclusion of the original classic, and this makes the selection of John Boorman to fill the duty as director so complexing to me. Boorman's work is very hit-and-miss with me, and reportedly he didn't even like the original! Was he forced into this out of a contract duty? Did he feel compelled to 'correct' the original? Either way, it shows. I'm not gonna go so far as to say it's among the worst films ever made as is often said, but it's so removed from the original in its mood, themes and coherence that I don't see many fans being pleased.<br />
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On positives, there's a few. Linda Blair had evidently flourished as an actress in the years between the two movies. Despite not having the best writing material to work with, her pleasure with playing Regan MacNeil remains as apparent as it was in the original. I also really adored the soundtrack. Composed by the amazing Ennio Morricone, this comes as no surprise and I found it reinvesting me when I otherwise was having my patience tested.<br /><br />What ultimately makes the film a poor sequel however is that it feels confused in what it wants to be. It's not enough to not want to be the original and it desperately wants to find its own. There are numerous sequences that take us to an unspecific place in Africa. They showcase their absurdity in the form of James Earl Jones dressing as a locust, depictions of Father Merrin's strange past with a group of fanatics, and erratic flying POV shots of Pazuzu that I'd call a poor imitation of <i>The Evil Dead</i> had that film been made yet. It actually begs being called so-bad-it's-good at times. I actually chuckled at Kokumo (James Earl Jones) spitting a tomato at the bed of nails laying before Lamont. Yeah, that happens too.<br />
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I didn't <i>Exorcist II: The Heretic </i>necessarily hard to get through. Its sheer ridiculousness is amusing enough, and it isn't without a few legitimately strong elements. If you were of the opinion that the original film needed a sequel, I don't see how this would match what you had in mind. It's not one of the worst movies ever, or even one of the worst sequels ever, but largely unremarkable all the same. Hopefully I'll like <i>The Exorcist III </i>more.<br />
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<b>My Rating: 5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-55524002456340037862019-08-28T08:22:00.001-07:002019-08-28T08:23:55.219-07:00Review: Play Misty For Me (1971)<b>Directed by: </b>Clint Eastwood<br />
<b>Written by: </b>Jo Heims and Dan Riesner<br />
<b>Starring: </b>Clint Eastwood, Jessica Walter, Donna Mills and John Larch<br />
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Clint Eastwood. What can be said? He epitomizes big screen tough guy. However he's usually the tough guy that has a considerable degree of substance behind his character. Many of the biggest action stars that came after him sorely lack this trait. Putting it more simply, I consider him one of the greatest actors of all time. However, my love for Eastwood in front of the camera is actually secondary to his work behind it. Only now did I finally get to this. <i>Play Misty for Me</i>. It's the first film he ever directed and among the finest thrillers of the 1970s.<br />
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Dave Garver is a disc jockey for KRML, a California-based radio station that specializes in sentimental tunes. Dave's unique approach to his broadcast has led to new career opportunities and an intensely dedicated fan base. He has a one-night stand with Evelyn, who later reveals herself as a frequent caller requesting the jazz standard "Misty." While initially the two begin a strictly casual relationship, the matter becomes complicated when Dave rekindles a romance with an ex-girlfriend and Evelyn begins to display psychotic, obsessive behavior.<br />
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Two of the most obvious comparisons for <i>Play Misty for Me </i>are Martin Scorsese's <i>The King of Comedy </i>and one of my favorite films of all time, Rob Reiner's <i>Misery</i>. All three feature an entertainer's life turned upside down by a crazed fan and play with the theme of mental illness. I prefer to see it as a precursor to Adrian Lyne's 1987 film <i>Fatal Attraction. </i>In my opinion, <i>Play Misty for Me </i>feels like a more subdued version. Although that sounds negative, I'm merely pointing out its fixed place as a thriller that never enters true horror film territory. Some describe it as neo-noir, though frankly I just don't see it.<br />
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As much as I love Clint Eastwood (and I could praise his performances all day) the scene-stealer here is undeniably Jessica Walter as Evelyn. I'm really unsure if I should view her as an antagonist, a villain or simply as much a victim of the circumstances as the other leads. Whatever you see her as, it's extremely unsettling to see this actress switch between genteel, annoying and psychotic without warning. You see these events through Dave's eyes, adding an intimacy essential to any stalker story. One problem however comes in the form of backstory. Evelyn is the subject of our curiosity, but the lack of a story prior to the beginning of the film is a little disappointing.<br />
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Some might call it dated, and perhaps that criticism is true given it's almost 50 years old and its most thrilling elements have been replicated in similar films since. I loved <i>Play Misty for Me. </i>Allowing Clint Eastwood to make mistakes as a first-time director, he performs well above expectations. This film is truly thrilling and while it's certainly not Hitchcock, it feels a hell of a lot like someone that did their homework on Hitchcock. Before <i>Unforgiven,</i> before <i>Gran Torino,</i> before <i>Mystic River, </i>there was <i>Play Misty for Me!</i><br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-73673007505627693812019-08-11T00:49:00.002-07:002019-08-11T00:49:43.246-07:00Review: Halloween (2018)<b>Directed by: </b>David Gordon Green<br />
<b>Written by: </b>Jeff Fradley, Danny McBride and David Gordon Green<br />
<b>Starring: </b>Jamie Lee Curtis, Judy Greer, Andi Matichak, Nick Castle, James Jude Courtney, Will Patton and Haluk Bilginer<br />
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It's been more than 40 years since John Carpenter terrorized moviegoers with his iconic horror masterpiece <i>Halloween</i>. I still vividly remember locking myself away in my bedroom in 2008 celebrating the 30th anniversary of the classic. It's been a whole decade since? Time is flying way too fast. When it was announced that another Halloween sequel was being made and Carpenter would be serving as an executive producer, I was ecstatic. More than hearing about an upcoming horror movie, it felt like a personal service to myself and the rest of the Halloween fanbase. My excitement was only amplified when my friend got us tickets to the Sydney premiere, which happened to feature a short Q+A with Jamie Lee Curtis herself beforehand. I need not say the night was terrific.<br />
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So what do I think of the new movie itself? It's made choosing a favorite Halloween sequel much more difficult. I wish I could agree with John Carpenter and declare it the best since the original, but my love of <i>Halloween II, Halloween 4: The Return of Michaels Myers </i>and <i>Halloween H20: 20 Years Later </i>isn't something I can overlook. Passion and nostalgia undoubtedly lead me to looking at the series in a biased way. However, I think this and the 1978 classic make the best double feature.<br />
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This film begins 40 years after Michael Myers' original rampage on Halloween Night. Laurie Strode has spent decades in paranoia and in preparation for what she sees as Michael's inevitable return to Haddonfield. The experience of almost being murdered has cost her marriages and fractured her relationship with her family. Michael Myers has been held in Smith's Grove Sanitarium since the killings and under the care of Ranbir Sartain, a doctor whose approach to the case is a stark contrast to his predecessor, Samuel Loomis. During what should have been an orderly transfer to another facility, Michael escapes to finish what he started years earlier.<br />
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What's most remarkable about this sequel is the fact that it retcons every single sequel before it. Rebooting the series and discarding timelines established by previous films is nothing new to this franchise. Rejecting <i>Halloween II </i>however really challenges the normal paradigm of these films. Throwing out the idea that Laurie and Michael were siblings had me a little skeptical at first. It actually works out very well and has the effect of transforming Michael back into the incarnation of pure, unrestrained evil as the original would have us believe. It's also admittedly the first time I've ever found Michael Myers to be terrifying. The treatment of Laurie Strode however is where <i>Halloween</i> truly shines. Her visible anguish is tragic and distressing to watch. I found myself identifying so much with this version of the character. This is a Laurie that despite not coming through the horrors of 1978 undamaged has become a stronger and authoritative individual. A far cry from the meek bookworm of the past. Laurie Strode has gone full-fledged heroine.<br />
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If I had to draw attention to some flaws, I found the graphic violence to be very out of touch with the almost bloodless original it's trying to bring us back to. Ironically I'd go so far as saying it's one of the most graphic films in the series. Not to say I don't love cinematic violence, but it really did feel like another plain sequel in this respect. There's also a minor amount of comedic relief too that in my opinion detracts from some of the more serious emotions at hand. These flaws considered, they also happen predominantly in the first half of the film. A few stumbles, sure, but not something that diminished the flavor of that satisfying finale. That alone makes this film and I'd implore you to watch it rather than read my review.<br />
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2 sequels are upcoming and I'm really not sure what to expect from this. The titles are questionable and I don't know how one would follow up on such a strong ending. I guess we'll find out in 2020. While this film throws aside all the past sequels, among them some films I truly cherish, it doesn't mean you have to. The 2018 sequel is a different <i>Halloween </i>that serves as a companion piece to the original alone. The gift of this film is that it's given us another way to enjoy one of the greatest horror franchises of all time, and it's a gift given to us by many of those who were involved in the classic from 1978.<br />
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To the late Donald Pleasence, Debra Hill and Moustapha Akkad, I wish you could have seen it. It would have made you proud.<br />
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<b>My Rating: 9/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-24545029607062743342019-02-25T23:16:00.002-08:002019-02-25T23:16:42.530-08:00Review: Lords of Chaos (2018)<b>Directed by: </b>Jonas Åkerlund<br />
<b>Written by: </b>Jonas Åkerlund and Dennis Magnusson<br />
<b>Starring: </b>Rory Culkin, Emory Cohen and Jack Kilmer<br />
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This is the music biopic that I've wanted to see for years. I can think back as far as 2008 wanting a movie about the Early Norwegian black metal scene. I was obsessed with all forms of heavy metal, and to an extent I still am. I was also only just starting to get serious about my passion for cinema as well. Only last week however did I finally get to see this film I always dreamed about. It's not the perfect story of black metal, but when biopics of musicians usually focus on comparatively tame figures like Johnny Cash, Ray Charles or the Four Seasons, I was psyched for something a little less conventional.<br />
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In the early 1990s, Norway is an idyllic place to live. It's peaceful and most of its people are happy keeping to their traditions. Despite this society's prosperity, it's totally unlike the mood expressed in extreme metal. A young man named Øystein Aarseth adopts the pseudonym Euronymous and forms Mayhem, a pioneering metal band that defines the style of Norwegian black metal. They would eventually become the most notorious and controversial band in the metal underground. As their music blossoms into a passionate scene, Euronymous and his followers are lead down a dark path of suicide, church arson and murder.<br />
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What surprised me the most initially was how effectively the film utilized its modest budget. I was quite amazed at the depiction of the church burnings, both in terms of the physical recreation of these infamous crimes, but also in the behavior and thinking of those involved. However I also feel budgetary considerations may have imposed a limit on <i>Lords of Chaos </i>realizing its potential as the ideal black metal story. It too often feels like the story of Mayhem as the band rather than the Norwegian metal scene as a whole. Varg Vikernes of Burzum plays a crucial role, but what about Emperor, Darkthrone, Gorgoroth and Immortal? All of them deserve just as much credit for this music and the controversy surrounding it. Perhaps that's my own bias emerging. Vikernes and Mayhem's current members have expressed their own less than satisfactory views.<br />
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The performances are strong. I didn't completely believe Rory Culkin or Emory Cohen as Euronymous and Varg, They felt more like actors to me rather than the real-life men behind the music, but they are competent all the same. I have to praise Jack Kilmer for his performance as Per Ohlin, more popularly known as 'Dead.' For years I saw Dead as the deranged frontman that aided Mayhem's best content, and I adored seeing him depicted in such a sympathetic, tragic light. In many ways <i>Lords of Chaos </i>feels like any other rock n' roll movie if it was on steroids. The youth of its characters is reflected in their drive for rebellion, hatred of the establishment and the desire to make a mark on the world, but Åkerlund's direction provides an ominous atmosphere reminding us of just how out of touch with right and wrong Euronymous and Varg are. It totally drew me in and the time just flew by.<br />
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<i>Lords of Chaos </i>claims in the opening credits that it's based on "truth, lies and what actually happened" reminding us that much of this story is made up of conflicting accounts and holes in the bigger narrative. For what I could expect, I was very happy with this movie, both as a black metal fan and as a movie buff.<br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-83214681548508055692018-03-31T21:15:00.001-07:002018-03-31T21:15:06.253-07:00Review: Beetlejuice (1988)<b>Directed by: </b>Tim Burton<br />
<b>Written by: </b>Michael McDowell and Warren Skaaren<br />
<b>Starring: </b>Alec Baldwin, Geena Davis, Winona Ryder, Catherine O'Hara, Jeffrey Jones and Michael Keaton<br />
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Beetlejuice! Beetlejuice! Beetlejuice! I can't believe how much time has passed. I first saw this movie back in 2009, only a year after the classic film had its 20th anniversary. I was in high school, beginning to get truly serious about movies and saw it as mandatory viewing given director Tim Burton's iconic stature in popular culture. Personally I'm far more drawn to some of Burton's other works, though there's quite a lot about this film that remains as remarkable as ever following the 30th anniversary of its release.<br />
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Adam and Barbara are a normal happy couple who dedicate their lives to making a great home, but after being killed in a car accident the pair's ghostly spirits are confined to their idyllic rural Connecticut home. The afterlife feels like going through the old motions of the living until a pretentious couple and their kooky daughter move in. This leads to Adam and Barbara seeking help from an eccentric and malevolent "bio-exorcist" that goes by the name 'Betelgeuse.'<br />
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Prior to his directing <i>Batman, </i>Tim Burton only had one other feature called <i>Pee-wee's Big Adventure </i>to his name. While I prefer both of these of these movies to <i>Beetlejuice </i>this offered Burton the opportunity to truly realize the artistic and storytelling style we might take for granted from the director today. The sets and lighting are both eerily gothic and simultaneously goofy, giving us a visual experience that is dark, amusing and ultimately inviting. This elements extents further into its special effects that remain a real jaw-dropper. Like any good movie all the appeal comes back to character. Although Baldwin and Davis give solid performances as the two leads, their characters would ultimately be forgettable if not for their compelling dramatic need. The show is truly stolen, unsurprisingly, by Michael Keaton as Betelgeuse. He's delightfully over-the-top and embraces the role passionately. I'd also love to make a special note of Winona Ryder's character Lydia. I honestly feel her outcast status is symbolic of Tim Burton's own childhood. If there's any personal touch by the director in this movie, it's here.<br />
<br />
While <i>Beetlejuice </i>might not offer the larger stakes of some of Burton's later films it's undeniably a piece that allowed him to flex the creative muscle and develop that instantly identifiable style. Let's hope the upcoming sequel can hold up!<br />
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<b>My Rating: 8/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-21702470490754666402017-10-28T15:35:00.000-07:002017-10-28T15:35:12.995-07:00Review: Friday the 13th (1980)<b>Directed by: </b>Sean S. Cunningham<br />
<b>Written by: </b>Victor Miller<br />
<b>Starring: </b>Betsy Palmer, Adrienne King, Jeannine Taylor, Robbi Morgan and Kevin Bacon<br />
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On the topic of slashers, one of the most prominent questions is what the very first slasher movie actually is. Commonly you hear people citing <i>Halloween </i>and <i>Black Christmas</i> and others credit earlier films like <i>Peeping Tom </i>and <i>A Bay of Blood.</i> However, the question neglects to consider the quality of these movies or their role in mainstreaming the genre. <i>Friday the 13th</i> is not the first slasher movie or even the best, but it's the one with a legacy that warrants a particular celebration. You don't spawn 9 sequels, a crossover film, a remake and even comics and video games without immense appeal. I wanna overlook all of this however and simply review the original classic as the longtime fan that I am.<br />
<br />
Beginning in 1958 two promiscuous counselors at Camp Crystal Lake fall victim to murder by an unknown assailant. In 1979 the camp is being reopened despite its now sinister reputation as 'Camp Blood' following the murders and the drowning of a young boy a year prior. After ignoring the warnings of a local crazy the new camp counselors one by one fall victim to a murderer out in the woods. Is it the same killer responsible for the murders two decades earlier? Is it a vengeance spree? Is Crystal Lake really cursed? And who will make it out alive?<br />
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A common complaint against <i>Friday the 13th </i>a tired old groan about how terrible it is that the iconic Jason Voorhees is not the killer in the film, like it's either a serious fault or it was a mistake that those involved couldn't predict the extent of the series' success. This complaint drives me to talk about an immense positive related to characters and performances. Betsy Palmer plays Mrs Voorhees and despite only being onscreen for the final act she leaves a solid impression. Her performance combines our perceptions of a loving mother and vengeful psychopath. Our villains need stories, and Mrs Voorhees' place in the story of <i>Friday the 13th </i>prevents it from falling into purely generic territory. Even some of the other cast in this film act quite admirably for the standard of a slasher movie, namely a young Kevin Bacon and the film's star Adrienne King.<br />
<br />
I will confess that this isn't a perfect slasher film either, and I personally think that a small handful of sequels are superior. There are two majors flaws worth mentioning. Firstly, the lighting is poor and makes the relatively low budget of $550,000 very apparent. Secondly, it's sometimes paced very slowly and leaves you all too eager for what it does best: Depict brutal murders with the art of practical effects. Flaws aside, what the movie does very well has since become tradition. I personally am not scared at all by this film, but there's an element of fun that comes with its cheesiness, violence and its cinematic universe that makes it a joy to watch over and over again. I always find myself drawn into the world of Crystal Lake with its fictional history and each film's progression into a slaughter. The original film laid the framework for such a tradition. The fact that these movies are so fun to watch despite their cheap standard is something special that only fans will understand. The critics really need to lighten up a little.<br />
<br />
To summarize, I don't think the original <i>Friday the 13th </i>is best entry into the slasher genre, the most important in history and I don't even think it's the best entry into the franchise, but there's so much I cherish in it, be it from nostalgia or my enthusiasm for the genre that I recommend it that highly. It's a classic.<br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-64738670630511964742017-08-02T21:46:00.001-07:002017-08-02T22:02:17.906-07:00Film Summary: July 2017I've been doing this monthly film viewing summaries for a few years now and I've decided that this will be the final one. Due to increased busyness I've had to unfortunately cut down on a lot of movie-watching, but I also have a desire to diversify my writing. I want to have to freedom to spend more time on more detailed reviews rather than mere summaries, but also undertake some other writing projects in general. For me, writing should always be something rewarding and over time I've found these summaries have become monotonous to do. Instead I'll share what I've thought about movies I've just checked out in other way. Without further ado, let's dive in.<br />
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<b>Matilda (1996) –
7.5/10</b></div>
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A wonderful little girl blessed with intelligence and
telekinesis learns to navigate the troubles brought by her terrible parents and
even worse principal with the guidance of her teacher. Remembered as one of the
most well-liked family films of the 90s, but perhaps somewhat forgotten today,
‘Matilda’ still proves to be honest, light-hearted fun with a positive message.
Nine year old Mara Wilson delivers an exceptional performance for a child
actor, and given it’s one of the few performances that aren’t totally
over-the-top I think this reflects even more positively for the young talent. Danny
DeVito’s direction is full of charm, but has enough of a quirky visual element
to stand out, giving Roald Dahl’s source material of signal of respect. While
at times the humor of Matilda gets out of hand at the expense of its daring
dark elements, and kids will certainly enjoy it far more than an adult
audience, ‘Matilda’ is a nice treat.</div>
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<b>Godzilla vs. King
Ghidorah (1991) – 8/10<o:p></o:p></b></div>
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In an attempt to prevent Japan’s success in the distant
future time travellers erase Godzilla from history and unleash King Ghidorah to
annihilate the country in the early 90s. This one is held up as a favorite
among many fans of the series and I can definitely see why. It has a much more
up-to-date feeling that the two prior Heisei films, it features some
entertainingly mind-boggling time travel concepts, but all up it’s simply a
generally fun monster movie. Stating the obvious, Godzilla and King Ghidorah
are simply badass and modern effects put their battles in the distant past to
shame in comparison. As one would expect, the human story remains unfortunately
pretty shallow, but in all fairness I think lumping anything involving rubber
monster suits is a tedious effort. So far I’ve been very happy with the Heisei
series and the love of destruction in Godzilla movies in general, and ‘Godzilla
vs. King Ghidorah’ promises that, plus a little extra.<o:p></o:p></div>
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<b>Notorious (1946) –
8/10<o:p></o:p></b></div>
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The daughter of a convicted Nazi sympathiser is asked to
spy on a group of German scientists hiding out in Rio de Janiero, but when she
falls in love with the American agent advising her the already dangerous task
becomes more complicated. I really believe that the 1940s was the decade when
Hitchcock went from merely being a great filmmaker to being on his way of
becoming one of the best of all time, and ‘Notorious’ is proof of that.
Capitalizing on the recent end of World War II and the ensuing hunt for escaped
Nazi criminals, the film takes us right back to the mood of the latter half of
the decade and puts us right into the shoes of the main characters. As a spy
film, ‘Notorious’ is thrilling and holds us in anticipation for inevitable
results. As a film noir, it’s not quite as visually stunning as some
contemporaries, but still illustrates Hitchcock’s knack for visual aesthetics.
Finally, the romance is thrilling in its own right. I was actually amazed by
how the interplay between leads Cary Grant, Ingrid Bergman and Claude Rains
could surround a love story with such suspense, but then again we’re talking
about the master here.<o:p></o:p></div>
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<b>Whisper of the
Heart (1995) – 8/10<o:p></o:p></b></div>
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After meeting a boy chasing his dream to be a violin
maker, a young book-loving girl sets out to develop herself as a writer while
dealing with the pressures of adolescence. For a premise that may suggest a
generic teen romance, you can put faith that Studio Ghibli would do their best
to defy the expectation. ‘Whisper of the Heart’ may not have the outlandish
fantasy elements of some more notable Ghibli titles, but it is a very heartfelt
look at the age group of its main characters and in many ways I found it
reflecting back at my own past, which I think any great film should do. It
embraces the immaturity, confusion and conflicting feelings that come with
adolescence in a way that’s ultimately reassuring. Through Shizuku and Seiji
we’re reminded of the importance of having passions and goals that line up with
them and having to take the sacrifices that come with it. Many make a special
note of its romance, but frankly I think side of the film is far less important
than its great aesthetics, positive message and all around feel-good nature.<o:p></o:p></div>
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<b>Hairspray (1988) –
7/10<o:p></o:p></b></div>
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A ‘pleasantly plump’ teenager becomes a TV dance
sensation in 1962 Baltimore and finds that her newfound fame can be used to
push for racial unity in a deeply segregated city. One of John Waters’ most
well-known works is somewhat of a cult music sensation for the generation of
youth in the 1980s, and this status reflects the range of its appeal. I don’t
think of ‘Hairspray’ as a great film personally, but rather merely a good film
with a few distinctive traits. Sometimes falsely labelled as a ‘musical’ I
actually think the film could broaden its appeal in doing so. I thought its
characters were more devices for plot than engaging participants in it and I
found the campiness to be excessive to an occasional annoyance. Waters does
however take a unique look at the 1960s, commenting on both the dark truths of
two divided societies clashing with one another and the over-the-top
materialism linked to what was then new popular culture. It’s arguably Waters’
most accessible movie, but it’s distinct enough to be considered acquired
taste.<o:p></o:p></div>
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<b>Spider-Man:
Homecoming (2017) – 8/10<o:p></o:p></b></div>
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After his experience with the Avengers Peter Parker
returns to New York City and begins leading a double life as both a high school
student and the superhero Spider-Man. The Marvel Cinematic Universe certainly
has been a mixed bag, with some titles greatly impressing, some simply coming
along only to fade into an inevitable obscurity and others being plain
disappointing. Fortunately ‘Spider-Man: Homecoming’ is more than competent,
even if not revolutionary as a superhero or high school movie in any respect. I
really enjoyed Tom Holland’s performance and I feel he has a fruitful future
ahead of him as an actor. It’s the little things that make this film work. I
didn’t find its action to be particularly outstanding and admittedly even at
times I saw it as an excess, but the honest depictions of high school life, the
consistent humour and the ways in which the theme “with great power comes great
responsibility” is weaved into the interactions between story and character are
far more meaningful than a blunt statement. While not my favorite Spider-Man
movie by a long shot, it’s pretty good.<o:p></o:p></div>
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<b>Deepwater Horizon
(2016) – 7.5/10<o:p></o:p></b></div>
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A dramatization of the disaster on the Deepwater Horizon
in 2010, based on the experiences of a select group of individuals following
the explosion that ultimately led to the worst oil spill in American history.
For a director that gave us a terrible film like ‘Battleship,’ ‘Deepwater
Horizon’ is an immense step forward for Peter Berg. It incredibly explosive and
essentially a thrill ride, but it doesn’t obscure the realities of the tragedy,
the lives lost or the lessons learned from it. Surprisingly the
environmentalist element is restrained, and the script instead focuses more on
the nature of corporate greed and negligence. Performances by Mark Wahlberg,
Kurt Russell and Gina Rodriquez are quite strong, but don’t stand out to any
lasting significance. Where ‘Deepwater Horizon’ truly thrives is in structure.
It makes a brilliant use of foreshadowing, exposition and dramatic timing to
keep us fearing the inevitable result, and while its CGI can be very
in-your-face at times the overall experience is one of respect to those
involved rather than a product of exploitation.</div>
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<b>Sssssss (1973) –
7.5/10<o:p></o:p></b></div>
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A college student agrees to be the test subject of a
snake venom-based serum, but only learns of the scientist’s grim intentions
when it’s already too late. It’s impossible to have any kind of discussion on
‘Sssssss’ without mentioning how awkward and cheesy the title is, but it’s
generally a very engaging creature feature and it’s completely unabashed about
its B-grade status. This isn’t to say that it’s implausible factors don’t glare
nor that it excels in performances, storytelling or even in the terror it
promises to induce. There’s a certain wow factor behind its fictional science
that acts as the real driving force, which eventuates in the form of some truly
impressive makeup and a few fairly effective shock moments. The real problems
with ‘Sssssss’ are not in a lack of ambition, but rather the writing is too
uneven to maintain the tension necessary or develop characters appropriately.
Otherwise, it’s trashy fun and I recommend it.<o:p></o:p></div>
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<b>La La Land (2016) –
8.5/10<o:p></o:p></b></div>
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An aspiring playwright/actress and a jazz pianist meet
and have a wondrous romance while supporting one another’s dreams and waiting
for their big breaks. It’s taken me a while to get around to it, but I’m glad
to say I’ve finally seen ‘La La Land,’ the latest film by ‘Whiplash’
writer-director Damien Chazelle and a major contender for Best Picture of its
year. There’s really not much I can add to the praise that critics and everyday
moviegoers alike, but I’ll go ahead and say it anyway. ‘La La Land’ is
reminiscent of a cinema experience from the past. It’s incredibly theatrical,
has a magical quality in its music and visuals, and it’s a film that ultimately
leaves us feeling very positive and inspired. In saying so it’s really not the
little things that accomplish this. Emma Stone and Ryan Gosling are great as
Mia and Sebastian, but I feel the real credit goes to the way these characters
are written. Their nature is incredibly relatable to the artist and dreamer in
us all and their story is honest over the blood, sweat and tears of making
anything great possible. As a film about people chasing the extraordinary, it’s
only appropriate that watching it should feel the same. Sure to be remembered
as one of the modern greats of cinema, ‘La La Land’ deserves its praise.<o:p></o:p></div>
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<b>Dunkirk (2017) –
8.5/10<o:p></o:p></b></div>
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Towards the end of the battle of Dunkirk troops from
Britain, Belgium and France are evacuated in a hurried struggle as the German
army surrounds the few beaches still held by the Allies. There are few
directors working today whose films become a special event, and every few years
Christopher Nolan holds that honor. ‘Dunkirk’ is really a different step for
the acclaimed filmmaker, and it doesn’t fit the usual conventions of either his
most recent work or the war movie genre. It’s surprisingly not very
character-oriented, but it pulls you in on a much more subliminal level. That
isn’t to say it doesn’t compel with its depictions of the heroism and despair
involved in the Allied retreat, but it’s so heavy on atmosphere and mood that
it feels like it’s somewhat of an art film. The spectacles of warfare are
contained, yet hit us in such a way that we’re held in a state of fear at every
given moment. Some are already calling ‘Dunkirk’ one of the best war movies
ever made and a contender for Best Picture, and I think a win for Christopher
Nolan is overdue. It has the best aspects of the modern genre entry and has the
ambitions to set itself apart from the very same movies.<o:p></o:p></div>
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<b>The Trouble with
Harry (1955) – 8/10<o:p></o:p></b></div>
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The trouble with Harry is that he is dead, and everybody
in this small Vermont town in convinced that they have something to do with it
and feel they have to do something about the body before the authorities
discover it. We tend to associate Hitchcock with intense thrillers and murder
mysteries, and what’s fascinating is that at the height of his success as a
filmmaker he experimented in black comedy with ‘The Trouble with Harry.’ The
great result illustrates that Hitchcock’s talents were universal. It’s incredibly
amusing to see all these different characters react to the situation in their
own ways. There’s a morbid edge to it that generates suspense, but it
simultaneously directs the film into a cheery romantic comedy, a genre that’s
complimented by its use of picturesque landscapes. It’s not an
edge-of-your-seat thriller, nor do I think it’s hilarious, but it’s filled with
a lot of feel-good vibes and Hitchcock masterfully puts his twisted spin on it.
This makes ‘The Trouble with Harry’ more than worthwhile.<o:p></o:p></div>
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<b>To Sir, with Love
(1967) – 8/10<o:p></o:p></b></div>
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An educated engineer takes up a teaching post in London’s
East End and gets more than he bargained for when he gets a class of delinquent
kids. ‘To Sir, with Love’ is a distinctive product of the 1960s and I really
couldn’t see such a film succeeding in such a way at a later point in time. Is
does mean that in some ways it’s outdated, but I think it holds up pretty well.
Lulu’s hit song seems to be the most identifiable trait, but like any great
film it’s not popular music that drives success, it’s a meaningful narrative.
‘To Sir, with Love’ capitalizes on the era’s growing concerns of social
justice, namely race relations and poverty. Sidney Poitier really is the big
selling point of this film for me. His performance is both sentimental and
authoritative, proving that he truly is one of the greatest actors of his
generation.<o:p></o:p></div>
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<b>War for the Planet
of the Apes (2017) – 8/10<o:p></o:p></b></div>
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</div>
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As the conflict between humans and apes continues, Caesar
seeks to end the war by undertaking a quest to avenge his kind and confronting
his darker instincts. While the title would suggest truly epic proportions it
proves to be pretty misleading. This fact however does not work against ‘War
for the Planet of the Apes.’ It’s actually a very sombre exploration of our
nature at its worst and the horrors that hate and fear can lead to. This is
exemplified by both our hero Caesar, once again brilliantly played by Andy
Serkis and the new villain, Woody Harrelson’s Colonel. Despite the more
intimate explorations of character the film is largely a depressing experience.
A bleak visual style and uncompromising depictions of cruelty can make the film
sometimes very difficult to watch, but in true blockbuster fashion we’re given
an ending that satisfies after everything we’ve been put through. Admittedly
it’s probably my least favorite of this new Planet of the Apes franchise, but
knowing more movies in this universe are already being planned there’s more to
be excited for.<o:p></o:p></div>
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<b>The 300 Spartans
(1962) – 7.5/10<o:p></o:p></b></div>
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The tale of a small army of 300 Spartans, who defend
Greece from invading Persians at the Battle of Thermopylae in 480 BC. While
many audiences today would sooner think to the 2007 film based on the Frank
Miller graphic novel, the story of Leonidas and his men was told in a truly Old
Hollywood fashion and in doing so presented a uniquely American attitude
towards the Cold War. Politically and as a film epic it hasn’t aged nearly as
well as some of its contemporaries. It doesn’t have the strongest or most compelling
characters, its action is repetitive and its inevitable conclusion is mostly
unsatisfactory and rushed. ‘The 300 Spartans’ does however boast the positives
associated with this genre at this time in film history: Depictions of
unbridled heroism, compelling performances by stars, a likable romantic subplot
and the struggle between good and evil that’s essential to any great story.<o:p></o:p></div>
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<b><u>Top 10 Films for July 2017</u></b></div>
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1. La La Land</div>
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2. Dunkirk</div>
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3. Notorious</div>
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4. To Sir, with Love</div>
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5. The Trouble with Harry</div>
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6. War for the Planet of the Apes</div>
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7. Spider-Man: Homecoming</div>
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8. Whisper of the Heart</div>
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9. Godzilla vs. King Ghidorah</div>
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10. The 300 Spartans</div>
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<o:p></o:p></div>
TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-50812354015503623042017-07-06T00:58:00.000-07:002017-07-06T00:58:44.528-07:00Review: Army of Darkness (1992)<b>Directed by: </b>Sam Raimi<br />
<b>Written by: </b>Sam and Ivan Raimi<br />
<b>Starring: </b>Bruce Campbell, Embeth Davidtz, Marcus Gilbert, Ian Abercrombie and Richard Grove<br />
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With even the greatest sequels it's almost a certainty that the third film won't live up in some way. This rule of course isn't universal, but I think that when we have three consistently good entries it's worthy of discussing movies by their own individual merit. Taking 'Evil Dead' out of the title of <i>Army of Darkness </i>certainly indicated that the marketing team wanted this movie to stand on its own to some extent, and it does. Some regard it as superior to <i>Evil Dead II</i>. I honestly can't choose between the two, but the two make for perhaps the ultimate double feature of sequels better than the original.<br />
<br />
At the climax of <i>Evil Dead II</i>, Ash Williams is transported back to the year 1300 A.D. He's immediately taken captive by a Lord's army who believe him to be in league with their enemy, but earns their respect after he defeats a deadite in what was intended to be a sacrifice. Believing Ash to be a prophesized hero, he's sent to retrieve the Necronomicon Ex-Mortis, the demonic book of the dead that has both the power to return him back to his own time and unleash a horde of deadites on the world.<br />
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<i>Army of Darkness </i>takes a starkly different approach from the prior entries in the trilogy. I must confess that I do miss the cabin in the woods setting. It was perfect for creating that atmosphere of isolation and really prompted us to understand the unknown entities lurking within. That's all lost with this film, and I didn't think the Medieval setting was particularly unique. While this does mean that <i>Army of Darkness </i>isn't as terrifying as its predecessors, it thrives in a very different way and I think we should all be glad for it. I think of it as more of a comedic fantasy with dark, horrifying elements. It's a really impressive merging between genres that unlike <i>Evil Dead II </i>favors humor first. I don't know how to describe how awesome it is to have this explosive violence share the screen with what seems like it came out of a Three Stooges short, so I'd implore you to check out the scene where Ash first battles his evil clone instead.<br />
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Bruce Campbell had established himself as a cult icon by this point, but it's clear that over a decade after working on <i>The Evil Dead </i>his abilities as an actor had expanded. Playing Ash was not just a role in a movie anymore, he was able to become that character like nobody else. Only with his charisma and gift for spouting off one-liners with such energy could we get behind a hero that is so incompetent and selfish. In a sense, Campbell has had to learn to play his character twice, taking into account his portrayal of the villain Evil Ash, which is also pretty great.<br />
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The final battle between Ash, the medieval-era people and the army of darkness may very well be the greatest moment of the Evil Dead trilogy. There's no real horror here, just an all-around kickass showdown in the spirit of Ray Harryhausen. Any film nut will see the stop-motion skeletons as a heartfelt throwback to <i>Jason and the Argonauts</i>, and in the most amusing way it paints Ash Williams as the hero of a modern day Greek mythology.<br />
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We have two Evil Dead sequels and they both absolutely rule. Which one is better? Anybody could make a compelling argument for why they prefer one over the other, and what's so fascinating is that it's so dependent on where your tastes lean. Do you prefer horror or comedy? Either way the Evil Dead trilogy has always been about playing with the two genres in unconventional ways and <i>Army of Darkness </i>is no exception.<br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-56917143925385510452017-07-04T05:13:00.001-07:002017-07-04T05:13:04.835-07:00Review: Evil Dead II (1987)<b>Directed by: </b>Sam Raimi<br />
<b>Written by: </b>Sam Raimi and Scott Spiegel<br />
<b>Starring: </b>Bruce Campbell, Sarah Berry, Dan Hicks, Kassie Wesley DePaiva and Ted Raimi<br />
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I've always loved reading about what those out there consider the best movies to be, and perhaps what's the best within a certain group of movies. <i>Evil Dead II </i>AKA <i>Evil Dead 2: Dead by Dawn </i>is a movie that often gets placed among films like <i>The Godfather Part II, Terminator 2: Judgment Day </i>and <i>Star Trek II: The Wrath of Khan </i>as one of the all-time greatest sequels. But is it truly a sequel? And if so, how does it match up against its predecessor? For whatever reason <i>The Evil Dead</i> was the one film in the series I watched repeatedly when I was younger, yet <i>Evil Dead II </i>was the first entry that I actually owned. I'm a little weird with these movies, but that's okay because these movies are weird and that's one element of a great cult film.<br />
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Ash Williams and his girlfriend Linda travel deep into the woods and uncover an ancient book of the dead and a tape recording of its translation. Upon playing it they unleash a demonic entity into the wilderness that preys upon the souls of the living. During the onslaught Ash initially finds himself alone and fighting for his life, but eventually holes up in a cabin with a group of strangers and learns of ways to battle the Evil Dead.<br />
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To this day there's a huge debate surrounding <i>Evil Dead II</i>. Is it a sequel to <i>The Evil Dead </i>or a remake? Ask any fan and you're bound to get either answer, and truthfully I'm undecided on this. Your perspective may have an influence on how you look at it, but the more positive outlook I find is viewing it as a sequel. Some consider the first ten minutes to be a 're-cap' of the original's events, but if it's a remake these early parts of the film can feel dangerously rushed and losing your feet as a viewer. I just revisited this movie in a marathon with the other two entries, and it generally flows well as one single trilogy. That said, its re-enactment of the original's most memorable scenes definitely stand out.<br />
<br />
Regardless of this debate there's no denying that <i>Evil Dead II </i>takes a far more unique approach to this tale. While the original has a low-budget, slasher-like quality, this film is more expensive horror-comedy that has maximized director Sam Raimi's creative potential. In a lot of ways the comedy of this film surpasses the horror. Bruce Campbell returns as Ash Williams, but he's written with far more personality and as more of an antihero. He's both hilarious with his one-liners, sarcasm and irritability, yet totally badass at the same time. It's a great feat to pull this off, and have it be accepted by an audience. One of my favorite scenes is when Ash battles his own possessed hand before cutting it off with a chainsaw. It's a great example of the series' balance between the absurdly funny and the bloody. This and scenes like it were made possible by a budget that was lacking in the original, and astonishingly this film stands out for its marvellous gore and creature effects.<br />
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Is <i>Evil Dead II </i>a sequel, remake or a mixture of both? That's up to the audience to decide, but what's most clear to me is that this is <i>The Evil Dead </i>realized to its full potential. With better writing, a bigger budget that freed up Raimi and his team and an ambition to master two opposing genres at once it's only appropriate to call <i>Evil Dead II </i>one of the best sequels and remakes of all time.<br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-76598587566457360122017-07-02T07:45:00.000-07:002017-07-02T07:45:03.976-07:00Film Summary: June 2017It's been a quiet month movie-wise, and this largely comes down to factors that have been beyond my control. A few positives have come about, but it's mostly just been really busy. I have been rewatching a lot of stuff lately, so as far as first-time viewings go I only have 10 to speak about.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggtQplyyfstx3Bjvh8nTtYo4aoewPTemEmaW9DlFo6iVE1XSYxJHU0QB0GNhGaVbOC4dpMTD7cJJXTAjU9gK4KVPuqYYIpdQpq7HSDgzHGSnc7aetsK5REnlx1moah-Rqn1zFM5A0F9A/s1600/godzilla_vs_biollante_poster_by_leonrock84-d9c3207.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1053" data-original-width="759" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggtQplyyfstx3Bjvh8nTtYo4aoewPTemEmaW9DlFo6iVE1XSYxJHU0QB0GNhGaVbOC4dpMTD7cJJXTAjU9gK4KVPuqYYIpdQpq7HSDgzHGSnc7aetsK5REnlx1moah-Rqn1zFM5A0F9A/s200/godzilla_vs_biollante_poster_by_leonrock84-d9c3207.jpg" width="143" /></a></div>
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<b>Godzilla vs.
Biollante (1989) – 7.5/10</b></div>
<div class="MsoNoSpacing">
Genetic engineers create a monster by combing the cells
of Godzilla with those of a rosebush, leading to a destructive confrontation
between the two monsters. The second film in the Heisei series isn’t the same
dramatic step forward that ‘The Return of Godzilla’ was a few years prior, and
comparatively it’s also more greatly victimized by its age. For everything
that’s great about older monster movies it’s hurt by a visible datedness,
particularly in terms of its soundtrack choices and depictions of computer
technology. Where it succeeds however is inevitably with its monsters. I love
the costumes, the effects and the creativity behind the villain Biollante. It’s
taking the environmentalist edge of earlier films to unique places. While
undoubtedly something you switch the brain off over, ‘Godzilla vs. Biollante’
is a solid, if imperfect entry.</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwmDReGJfvjavKvfLvVABSrpa3dvVk7VVSTKxUp6WbaEwBIImsauiYyWRQnIB3U3AkU4GVQv-LrJt0X-8hf_wMsyLt56kA82IXOO1BHxDJSwgAEa0l3QT_LHCAKXI0ljcgly8KF_YV2g/s1600/watership_down.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1075" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwmDReGJfvjavKvfLvVABSrpa3dvVk7VVSTKxUp6WbaEwBIImsauiYyWRQnIB3U3AkU4GVQv-LrJt0X-8hf_wMsyLt56kA82IXOO1BHxDJSwgAEa0l3QT_LHCAKXI0ljcgly8KF_YV2g/s200/watership_down.jpg" width="134" /></a></div>
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<b>Watership Down
(1978) – 8/10</b><o:p></o:p></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
A group of rabbits flee their warren when one has a doomy
vision, and encounter one adversity after another in the dangerous outside
world. ‘Watership Down’ is a truly admirable animated feature if there ever was
one, and it really begs the question whether or not adults were in mind before
children. While most animated films are cheery and full of excitement
‘Watership Down’ turns those rules upside down and intelligently works in an
open-ended structure and a humanizing yet generally still accurate portrayal of
the nature of its characters. Any great animated film deserves to have its
visuals taken into account, and the animation here sits in a unique place
between that of a skilled landscape artist and a psychedelic trip. Where it
excels, perhaps controversially, is in its dramatic violence. The story of
these rabbits is a grim one that shows the world as unpredictable and cruel. If
honesty is a virtue, then ‘Watership Down’ is exemplary animated filmmaking.<o:p></o:p></div>
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<div class="MsoNoSpacing">
<b>Swamp Thing (1982)
– 7/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
After a freak accident involving a special formula a
scientist is transformed into a mutated plant creature that dwells in the swamp
and seeks to confront those that stole his work and life from him. Based on the
DC Comics character of the same name I can’t help but see ‘Swamp Thing’ as a
schlocky version of ‘The Creature from the Black Lagoon.’ It’s by no means a
poor film, but doesn’t do much to impress and is intensely dated. I think its
worst quality is that it hardly strives to be the superhero film we should have
been promised but rather descends into a frivolous monster fest. It does offer
the usual charms in this area, as its costuming and practical effects can
account for, but it also offers too thin a plot, characters and no real
utilizations of the concepts it introduces early on. It’s goofy to the point of
being fun, but that’s about it. I would definitely welcome a newer adaptation
of these comics.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj05VbyZb-zwbjxWrjYmHtybJZq6aUlNk6z1jfEskajhQOMhJSihnVWlE8OdUzrPb-VXK0AIQoCm1UpEnZTI2wk_KS2jxYDdt4Utpa5TasmdZ57y83ybSM0MmUSPUxvBkcXJoHuiZJBg/s1600/blade_ver2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="721" data-original-width="535" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj05VbyZb-zwbjxWrjYmHtybJZq6aUlNk6z1jfEskajhQOMhJSihnVWlE8OdUzrPb-VXK0AIQoCm1UpEnZTI2wk_KS2jxYDdt4Utpa5TasmdZ57y83ybSM0MmUSPUxvBkcXJoHuiZJBg/s200/blade_ver2.jpg" width="148" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<b>Blade (1998) –
7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
A half-vampire, half-mortal man contends with a vampire
trying to upset the established order and unleash an apocalypse on the human
race. Based on the Marvel comics character of the same name, ‘Blade’ offers
plenty of joy as a horror-oriented superhero film despite being hardly
remarkable as that or as a Marvel comics film. There’s a lot of stylish action
sequences incorporating its own individual take on vampire mythology, but it
generally suffers from datedness. Its CGI Is barely palatable in today and more
closely resembles a video game than anything else, and some soundtrack choices
are out of place, seeming more appropriate to a nightclub than an action movie.
It does however boast a dark visual style to complement an ominous mood and
while some performances could benefit from better direction, the leading cast
mostly commits themselves to their roles and brings us into the world of
‘Blade.’<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7zc9kAb6139byR0-4If-wA6HE5nqf561Kb3X1FxAijhZGIPgbxNA1Mr__i1oQmYwnsFDhpaH3ri1iff0FKuH9if6gLdY_fucNPE6nZo5qIPVl5k6938MfOrd1uaBeMGawBNTIJJPClw/s1600/birth_of_a_nation.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="509" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7zc9kAb6139byR0-4If-wA6HE5nqf561Kb3X1FxAijhZGIPgbxNA1Mr__i1oQmYwnsFDhpaH3ri1iff0FKuH9if6gLdY_fucNPE6nZo5qIPVl5k6938MfOrd1uaBeMGawBNTIJJPClw/s200/birth_of_a_nation.jpg" width="134" /></a></div>
<div class="MsoNoSpacing">
<b>The Birth of a
Nation (2016) – 8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
The story of Nat Turner, a literate slave and preacher
who upon experiencing firsthand the cruelty of the slave trade utilises his
faith to inspire a rebellion. It would seem appropriate that a film about the
atrocity of slavery and a preceding event to the eventual emancipation of
America’s blacks would share a title with an epic yet racist silent film
released over a century earlier. It’s almost as though it exists to right a
past wrong, and writer/director/star Nate Parker’s passion for this permeates
all through this ambitious film project. ‘The Birth of a Nation’ isn’t without
flaws, given some gratuities in both violence and religious themes, a general
unevenness in storytelling and a reliance on some stereotypes, black and white
alike. Where it does succeed is in reinforcing the justice behind these true
events. Utilizing a shadowy visual style and a messiah-like depiction of its
central character we experience Turner’s rebellion cathartically. I do wish
this film took a more nuanced approach to its history, but regardless I’m happy
to see this story come to the screen and join the ranks of ‘Django Unchained’
and ’12 Years A Slave’ in the cinematic re-exploration of slavery.<o:p></o:p></div>
<div class="MsoNoSpacing">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4HMj7VILj74N0Xz_kBAGsFYtM6QJU9whhPM26ShhTYg11wnr2qBKXDZx3VnqrXEQvKs0hUkF0Y46uAGuDFvQPqeLuCjlg4g1iM86n_P5_loJ1pzhUSPRAKrC5tLSjaC-W5Ssez2nmng/s1600/two_mules_for_sister_sara.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="755" data-original-width="493" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4HMj7VILj74N0Xz_kBAGsFYtM6QJU9whhPM26ShhTYg11wnr2qBKXDZx3VnqrXEQvKs0hUkF0Y46uAGuDFvQPqeLuCjlg4g1iM86n_P5_loJ1pzhUSPRAKrC5tLSjaC-W5Ssez2nmng/s200/two_mules_for_sister_sara.jpg" width="130" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<b>Two Mules for
Sister Sara (1970) – 7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
A nun aiding the Mexican rebels during the French
intervention allies herself with a ruff drifter, and though they become good
friends during their travels she maintains a secret about her involvement in
the conflict and her Christian faith. Directed by the wonderful Don Siegel,
‘Two Mules for Sister Sara’ feels like one of Sergio Leone’s great western
executed more lightly. It has one astonishing soundtrack by Ennio Morricone,
that crisp visual style and unrestrained violence (by the standards of the
early 70s) but I think it stands out a lot better in a different way. Focusing
on the relationship between this characters spurs both the curiosity of the
audience towards Sara’s mystery, as well as the comedic highs and dramatic lows
of two people with a nature in conflict with one another. The chemistry between
Shirley MacLaine and Clint Eastwood is wonderful, bringing out both the more
upbeat and serious potential in their performing. Although not Siegel’s best
film, or even the best American western of that time it carries with it all the
excitement necessary.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQC7418YP9lkO6L6DGp1ovHKyibEnRTCaS77rfyyZZkF1QbiPEQdh_h1wJ2eCU_1U4msAkmva3QNHIgPMl9FJXB_2DXw-2et4fSOpZX2kk_wmxhaWoNBcqavp1eFvMlpUMWvQ7zgH5g/s1600/global-metal-2008-poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1107" data-original-width="829" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQC7418YP9lkO6L6DGp1ovHKyibEnRTCaS77rfyyZZkF1QbiPEQdh_h1wJ2eCU_1U4msAkmva3QNHIgPMl9FJXB_2DXw-2et4fSOpZX2kk_wmxhaWoNBcqavp1eFvMlpUMWvQ7zgH5g/s200/global-metal-2008-poster.jpg" width="149" /></a></div>
<div class="MsoNoSpacing">
<b>Global Metal
(2008) – 8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
Sam Dunn travels to see how the heavy metal subcultural
has emerged in different parts of the world and how different cultures have
reacted to it. Coming off his brilliant success with ‘Metal: A Headbanger’s
Journey,’ ‘Global Metal’ is understandably a different approach to the topic of
heavy metal, but what I loved the most was simply seeing the passion the fans
and bands from all across the world had for this art form. There’s simply
something truly beautiful about all these different kinds of people all coming
together as part of this niche global community. What stands out most are the
ways in which some cultures have both rejected and embraced metal. There is
something deeply upsetting about the circumstances in places like the Middle
East, but on the other end a simply incredible depiction of the heavy metal
lifestyle in Japan and Brazil. Making effective use of a number of metal acts
and interviews, Dunn’s film shows us that heavy metal really is a global
family.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_A_duec-ribYZqDpqQyO1iQ2kLKgTkxGL-qD746QwB4kBodCDG1T-r6GbP5jpNtGq9ZTRAbxtE0k2IyFMnqhzphUkUcaf61LBIJzCAN1I7mgH06wwmoD3e1UH18sodJ34xJlcCHF_9Q/s1600/anastasia_ver2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="755" data-original-width="509" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_A_duec-ribYZqDpqQyO1iQ2kLKgTkxGL-qD746QwB4kBodCDG1T-r6GbP5jpNtGq9ZTRAbxtE0k2IyFMnqhzphUkUcaf61LBIJzCAN1I7mgH06wwmoD3e1UH18sodJ34xJlcCHF_9Q/s200/anastasia_ver2.jpg" width="134" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<b>Anastasia (1997) –
7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
The last surviving daughter of the Russian Royal Family,
aided by two conmen travels to Paris to reunite with her grandmother while the
ghost of Rasputin seeks to have her killed. As one of the greats of the world
of animation I’ve prioritized seeing many of the films of Don Bluth, and while
I don’t think it can compare to the excellent ‘The Secret of NIMH,’ ‘Anastasia’
is solid historical fiction for those interested in royal history. Being based
on something without a factual basis, it instead makes the most of the myth of
Anastasia Nikolaevna’s survival following the revolution by weaving in elements
of classic romantic storytelling and the supernatural, even if it’s
occasionally hokey. Meg Ryan and John Cusack deliver solid voice performances,
the animation nicely illustrates the worlds of Russian royalty, Russian poverty
and early 20<sup>th</sup> century Paris, but if nothing else will grab you it’s
the hilariously cartoonish portrayal of the mystic Grigori Rasputin.<o:p></o:p></div>
<div class="MsoNoSpacing" style="text-align: right;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing">
<b>Clown (2014) –
7/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
A loving father finds an old clown suit in a house he’s
trying to sell and wears it for his son’s birthday party, only to find that
he’s unable to remove it and begins losing his mind to an entity within the costume.
Though its wider release was long-delayed and the final product may not match
up to what audiences probably deserved, ‘Clown’ proves to be a generally solid
horror film with plenty of throwback to some great films of the past and at
times it shows a lot of balls. It plays with both its own take on clown
mythology and concepts of body horror familiar in films like ‘The Fly’ and
result in a film that is sometimes darkly comedic, sometimes effectively
shocking, but sadly also comes off as too conventional due to an over-reliance
on jump scares and exploitative violence. Great psychological properties
prominent through the first half are sadly abandoned in favor of a
straight-forward monster movie. Performances are strong and costuming/makeup
are competent, but the ultimate result of ‘Clown’ is something enjoyable, but
hardly mandatory viewing.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXQkKAYj0RbTxb4Jg3gQR2U-ZDgFaGk9fWvWZUfScOIkF4wRzcymQC2WIT9EiDjliRhAYMqFE2omnijQzC9kvU4A_UF0D6BbzBSAnQbz6VoLRJjWr2GadSNb7S6rk1om3Dd5sZu6fkQ/s1600/thor_the_dark_world_ver2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="755" data-original-width="509" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXQkKAYj0RbTxb4Jg3gQR2U-ZDgFaGk9fWvWZUfScOIkF4wRzcymQC2WIT9EiDjliRhAYMqFE2omnijQzC9kvU4A_UF0D6BbzBSAnQbz6VoLRJjWr2GadSNb7S6rk1om3Dd5sZu6fkQ/s200/thor_the_dark_world_ver2.jpg" width="134" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<b>Thor: The Dark
World (2013) – 6.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
A powerful entity known as the Aether attaches itself to
Jane Foster, drawing the genocidal race of Dark Elves toward Asgard at the time
of a major cosmic event and forcing Thor to make tough decisions on how to save
everyone around him. While I felt the first ‘Thor’ was one of the stronger
entries into the earlier Marvel Cinematic Universe films, its sequel barely
holds up and if I’m honest it’s one of the weakest films in this gigantic
franchise. Its problems are hardly unique for a sequel, and to sum up it simply
lacks the drive to be anything more than a stepping stone to another Avengers
film. Familiar characters go through little to no growth, new characters such
as Christopher Eccleston’s Malekith are paper-thin, stakes are ill-defined and
structurally the film feels like a long set-up to a short action finale. The
relationship between Thor and Loki has always been fascinating to me, and
Hemsworth and Hiddleston’s scenes together offer fairly tasteful if shortlived
heart. Sadly much of ‘Thor: The Dark World’ plods along as if to get itself out
of the way and offers the occasional thrill and surprise to keep us invested.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b><u>Ranking the Movies</u></b></div>
<div class="MsoNoSpacing">
1. Watership Down</div>
<div class="MsoNoSpacing">
2. The Birth of a Nation</div>
<div class="MsoNoSpacing">
3. Global Metal</div>
<div class="MsoNoSpacing">
4. Two Mules For Sister Sara</div>
<div class="MsoNoSpacing">
5. Blade</div>
<div class="MsoNoSpacing">
6. Anastasia</div>
<div class="MsoNoSpacing">
7. Godzilla vs. Biollante</div>
<div class="MsoNoSpacing">
8. Swamp Thing</div>
<div class="MsoNoSpacing">
9. Clown</div>
<div class="MsoNoSpacing">
10. Thor: The Dark World</div>
<div class="MsoNoSpacing">
<o:p></o:p></div>
TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-70975652587404785462017-06-29T04:51:00.002-07:002017-06-29T04:51:39.654-07:00Review: Rope (1948)<b>Directed by: </b>Alfred Hitchcock<br />
<b>Written by: </b>Arthur Laurents<br />
<b>Starring: </b>James Stewart, John Dall, Farley Granger, Douglas Dick and Joan Chandler<br />
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In a film career spanning just over five decades Alfred Hitchcock made a name for himself that few directors will ever get a glimpse of in their lives. He was one of the first filmmakers to be the real 'star' of his movies, he had a flair for self-promotion and he made that many great films that he was referred to as 'The Master of Suspense.' What films confirm this stature more than the rest? I can name a few. <i>Psycho, Vertigo, Rear Window, Shadow of a Doubt, North by Northwest </i>and the movie I'm about to review, <i>Rope. </i>Why does this one stand out? Because it's as much of an experiment for Hitchcock as it is a carefully crafted crime and psychological thriller.<br />
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Brandon and Philip are two men sharing a New York apartment. Under the belief that they're intellectually superior they arrange the murder of their classmate David, place his body in a chest and then host a party in the same room to celebrate committing the 'perfect crime.' One of their guests, Rupert becomes suspicious of something in light of Philip's manifesting anxiety and Brandon's overconfidence and seeks out answers.<br />
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Beginning with a murder and establishing the grim intentions almost immediately the audience is fixed with an insatiable morbid curiosity, but this element is only part of what makes the film so worthwhile. <i>Rope </i>takes place in real time, relying on editing to create the illusion of a single continuous take for much of the film's runtime. Apart from suspending a result seemingly indefinitely this technique allows for a fascinating insight into the films two antagonists and how they act according to developments in the situation. It's incredibly unsettling to witness Philip falling apart from fear whilst his accomplice Brandon boasts about a Nietzschean supremacy. However great John Dall and Farley Granger are at giving us what's basically a cinematic version of murderers Leopold and Loeb they're both put to rest by the legendary James Stewart. Admittedly I'm biased by his being one of my favorite actors, but his portrayal of Rupert perfectly brings out the character's calm way of manipulating the situation to finding an answer.<br />
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<i>Rope </i>utilizes a style of storytelling that's hard to do well, but Alfred Hitchcock pulls through, proving that one can rely on only the most essential resources and deliver a great film if their writing and techniques are carefully thought out. Seeing the way some characters act is certainly creepy, but where it truly excels is the same as where Hitchcock always has succeeded - suspense that never ends!<br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-33555678485860150682017-06-29T00:40:00.003-07:002017-06-29T00:40:39.730-07:00Review: The Evil Dead (1981)<b>Directed by: </b>Sam Raimi<br />
<b>Written by: </b>Sam Raimi<br />
<b>Starring: </b>Bruce Campbell, Ellen Sandweiss, Betsy Baker, Richard DeManincor and Theresa Tilly<br />
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When we talk about cult films we tend to conjure images of small yet highly dedicated fanbases and behaviors that indicate a passion that go beyond your usual movie. When I think about cult movies I'm immediately drawn to thinking about certain cinematic traits that may repel a lot of viewers while drawing in small niches simultaneously. <i>The Rocky Horror Picture Show, The Big Lebowski, Plan 9 From Outer Space, Eraserhead </i>and even <i>The Room </i>have a loyalty attached to them that's admirable in their own right. <i>The Evil Dead </i>and its sequels definitely fit this criteria, and it's hard to imagine every cinephile enjoying it with its grotesque violence and comedic underlyings. It's a unique film, and if it should be praised for anything it's the lessons it provides to would-be filmmakers.<br />
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Five college students looking for a fun weekend venture into the Tennessee wilderness to stay at a decrepit cabin. Despite coming across signs of something strange happening in the woods the group pushes ahead with their plans. They come across an ancient book inked in blood and bound in human flesh, and after playing a recorded translation they unleash evils hell bent on destroying them.<br />
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There's somewhat of a merger between different horror genres in <i>The Evil Dead</i>. At times the film takes on a menacingly quiet nature, allowing you to really indulge in the feelings of isolation and push the imagination towards understanding what evil entity lurks out in the woods. This atmosphere is reinforced astonishingly well by its low-budget. The lighting is restricted, fog machines are constantly used and the result is something that's charmingly B-grade. On the other hand though the creativity of a young Sam Raimi and his collaborators deliver something gruesome, loud and uncomfortable at the same time. Consistent with the cheapness, the special effects and makeup are simply a delight, not only for pure aesthetics but the sheer gross-out quality.<br />
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Admittedly though I don't think <i>The Evil Dead </i>is perfect and some of the factors I'll discuss are improved upon with the sequels. Young Bruce Campbell with his stature as a cult hero some years ahead of him plays a very different Ash Williams from what we now think of. He's not the self-absorbed, wise-cracking hero, but rather very meek and unengaging as a character. In fact, basically all the other characters are written flatly and given some poor dialogue from time to time. In a way they're more worthy as cannon fodder for the demonic slaughter that awaits them rather than people we can truly get behind. While the film definitely has some comedy that throws off our usual expectations, I found this was expanded on to a more desirable extent in the later films.<br />
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<i>The Evil Dead </i>is a classic horror film, and its status as a cult film is deserved. Personally though I see it as two things: A blueprint for what Raimi would eventually give us later on, and a piece of inspiration to filmmakers with access only to small budgets. It's a fine example of creativity defeating limitations.<br />
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<b>My Rating: 8/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-33959930501163400892017-06-22T07:35:00.003-07:002017-06-22T07:35:16.524-07:00Review: The Conjuring (2013)<b>Directed by: </b>James Wan<br />
<b>Written by: </b>Chad and Carey Hayes<br />
<b>Starring: </b>Vera Farmiga, Patrick Wilson, Lili Taylor and Ron Livingston<br />
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Going back ten years ago I started my first YouTube channel at 13 years old. While all I did was make short musical montages paying tribute to my favorite horror movies I did find myself taking part in a vibrant community of horror hounds. One of the most common sentiments most of us shared was that modern horror films simply don't cut the mustard like those of the past did. Why couldn't we see more movies like <i>Rosemary's Baby, Psycho, A Nightmare on Elm Street </i>or <i>The Shining</i>? While many doubt the future of the genre, <i>The Conjuring </i>is proof that Hollywood is still capable of delivering outstanding horror.<br />
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In 1971, Roger and Carolyn Perron and their five daughters move into an old farmhouse, and rather than finding a home to start a new life in they're instead subjected to a series of paranormal occurrences that escalate into a living nightmare. In desperation, the family contacts the famed demonologists Ed and Lorraine Warren for aid. This is followed by revelation that the house is possessed by the spirit of an accused witch while the supernatural forces seek to destroy them all.<br />
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As far as premise concerned it isn't all that different from the typical haunted house movie, but it's much less to do with plot, or anything that could be speculated about the real-life Harrisville case or the Warrens' claims. It's about execution. Not to say that I haven't enjoyed director James Wan's work in the past, but was surprised to see how effectively he uses techniques fashioned after the great horror films of the past, all the while gripping modern audiences that may not be attuned to them. If the widespread acclaim is indicative of anything, it's Wan's understanding of how to bring the fear out of us all. As resilient to horror as I am, the dark visuals, ambience and depicting the unexplainable terrified me. For as long as <i>The Conjuring </i>withholds exposition, it allows our imaginations to run away with the minds of its main characters and grabs us off-guard one time after another. If anything I kind of wish story development wasn't so crucial here as not to undermine other shocks potentially lost by revealing too much information.<br />
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Naturally it's hard to overlook the claims of being based on a true story in films like this, so I'll offer my own thoughts. I honestly think the Perron family has staged a hoax and that the Warrens are phonies. With a lack of any concrete evidence supporting the claims of a haunting it only leads me to side with the contrary view. That said, I view this as a successful example of cinema taking us from our reality. No matter my feelings on those involved in the case, I look at Wilson and Farmiga's Ed and Lorraine as simply great characters that guide us through a fictional world.<br />
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I've seen this movie twice and was incredibly impressed both times, making it all the more likely I'll be coming back to it time and time again. As far as these kinds of films go I look at Robert Wise's <i>The Haunting </i>from 1963 as the gold standard. <i>The Conjuring </i>should be honored by being called its modern equivalent.<br />
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<b>My Rating: 9/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-47257228124228291162017-06-16T03:51:00.002-07:002017-06-16T03:51:24.411-07:00Review: Gremlins (1984)<b>Directed by: </b>Joe Dante<br />
<b>Written by: </b>Chris Columbus<br />
<b>Starring: </b>Zach Galligan, Phoebe Cates, Hoyt Axton, Frances Lee McCain, Polly Holiday and Corey Feldman<br />
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When we think of any movie we think of certain genre conventions. On the topic of Christmas movies we associate them with cheer, family, Santa Claus, sitting by the fireplace with hot cocoa, not unlike the holiday itself. These kinds of movies are usually very funny and leave us with a feeling of joy. The movie I'm about to review definitely incorporates all of these elements to one extent or another, but it's also one of the great movies that defies those very conventions at the same time. <i>Gremlins </i>is a Christmas movie, but it's also one ready to break the rules all while throwing back to different cinematic conventions of the past.<br />
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It's Christmas time and Billy Peltzer, despite being down on his luck in many respects maintains his love of the holiday season. His father buys his a small creature called a mogwai, bringing a revived happiness into his life. After naming him Gizmo, Billy is given three rules to follow: Keep him out of sunlight, don't get him wet and never feed him after midnight. Through no fault of his own, Billy breaks these rules and unleashes a horde of nasty, mischievous monsters on his small town.<br />
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Viewing the film itself, it can lead one to making a variety of conclusions. The most prominent one for me is how <i>Gremlins </i>is essentially a tribute to both Christmas movies and creature features of that past. Whether it's <i>The Blob </i>or <i>It's A Wonderful Life, The Beast from 20,000 Fathoms </i>or <i>Miracle on 34th Street</i>, we can see a little of all of this in <i>Gremlins. </i>It's very consistent with the films of director Joe Dante, a wonderful filmmaker who both pays homage to the films that inspire him while exciting us in new ways. Funny knowing that his and writer Chris Columbus' individual approach ultimately led to the PG-13 rating being introduced by the MPAA.<br />
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These extent of influence of older films and the testing of boundaries of what a Christmas movie are however trivial in comparison to the achievements <i>Gremlins </i>accomplishes on its own. Although I think all the performances are generally strong, contrasting the dark with the campy and delightful it should come as no surprise that the gremlins are the real stars of the show. They're like a fusion of Bugs Bunny with a Grade A psychopath, and the effects are staggeringly good. Utilizing puppetry, animatronics and stop-motion all at once, it achieves the best of all three worlds.<br />
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Growing up with <i>Gremlins </i>was wonderful. It taught me everything from appreciating how different genres of film can be combined to a greater effect and the charm of robotics and practical effects over CGI. It introduced me to Joe Dante, who has since become one of my favorite directors and it more generally demonstrates that unpredictability is one of storytelling's greatest strengths and a key ingredient for an exciting movie.<br />
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<b>My Rating: 9/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-92154861956064230372017-06-01T05:45:00.000-07:002017-06-01T05:45:54.804-07:00Film Summary: May 2017May was pretty hectic, but certainly a dramatic improvement over the chaos I dealt with back in April. Despite some busyness with work and college stuff I have been feeling relatively enthusiastic. I joined a gym that I'm enjoying a lot, setting fitness goals for myself and the like. I also took to renewing my love for the heavy metal music genre by venturing out to discover new bands while reacquainting myself with some old favorites. I saw 21 movies in June, and though many were entries in the Godzilla franchise I nevertheless had a great variety in my viewing.<br />
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<b>The Secret World
of Arrietty (2010) – 7.5/10</b></div>
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The Clock family, three miniature people living
anonymously in another person’s home find their world turned upside down when
their daughter Arrietty is discovered by a human boy. One of Studio Ghibli’s
more recent films are hardly one of their most ambitious, but it has its own
charms that are both unique by the standards of a Ghibli film and delightfully
enhance its small, but rich world. This one is all about beautiful
simplicities, so while it’s not always exciting it’s nevertheless always
engaging. I sense there’s somewhat of an environmentalist theme implying the
importance of allowing natural forces to run their course, but I found myself
more drawn into the plights of its trio of tiny characters. There’s something
fascinatingly reflective about it. It asks us to be aware of what we’re doing
to those around us and why, but above all it’s always great to see these people
navigating the often unpredictable worlds that Ghibli creates. A comparatively
more tame project, but its aesthetics will sweep fans regardless.</div>
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<b>The Magnificent
Seven (2016) – 8.5/10<o:p></o:p></b></div>
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When a ruthless industrialist threatens the homes of a
small town’s people they hire seven gunmen to protect them. Director Antoine
Fuqua has brought to life a wonderful remake of the classic ‘The Magnificent
Seven’ from 1960. Is it a better film? No, but I think it’s on-par and an
honourable entry into the 21<sup>st</sup> century’s comparatively smaller
number of westerns. Rather than merely re-enact the original it makes an effort
to stand on its own feet. This approach might not offer anything new, and in a
lot of ways it feels as though it’s simply ticking the boxes on genre
conventions, but I found it to a genuinely thrilling action spectacle. While
much of this is owed to modern production values and the dramatic build-up in
the script it’s impossible to not mention its wonderful cast. Denzel Washington
is phenomenal as Chisolm, bringing just the right amount of humanity and outlaw
toughness to the performance, but one can hardly single out anybody especially
given the likes of Chris Pratt bringing their own unique blend of humor and
dramatic input. This is a great western and I hope it leaves a long-lasting impact
on the legacy of the genre.<o:p></o:p></div>
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<b>Godzilla vs.
Hedorah (1971) – 6/10<o:p></o:p></b></div>
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A monster born of the Earth’s pollution attacks Japan and
threatens the health of the planet and its inhabitants, only to meet its match
in Godzilla. Released as ‘Godzilla vs. the Smog Monster’ in the US, this entry
into the Godzilla series is arguably better than its goofy predecessor ‘All
Monsters Attack’ but it suffers from similar problems. It has somewhat of a
child-friendly approach with its incorporation of comedic elements, but this
isn’t even where it falters. It suffers from an overabundance of different
storytelling styles, and at times becomes borderline incoherent with rapid
scene transitions and some creative decisions that are hardly more than totally
random. It succeeds where one would expect: Godzilla shows up and brawls with
Hedorah, and it’s as fun as ever, but this instalment is pinned down by its
eccentricity and its failed environmentalist message. Fans will find something
to enjoy, but others should avoid it.<o:p></o:p></div>
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<b>King Soloman’s
Mines (1950) – 8/10<o:p></o:p></b></div>
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Set in late 19<sup>th</sup> century Africa, adventurer
Allan Quartermain leads an expedition deep into the wilderness searching for a
missing explorer chasing down a fabled diamond mine. Though many adaptations of
‘King Soloman’s Mines’ have been brought to the silver screen, the 1950 version
is honoured by a Best Picture nomination that it lost to ‘All About Eve.’ While
many would call this tame by modern action movie standards I found it to be a
riveting adventure based around survival and the search for the unknown. Taking
an observable colonial-era mentality, it effectively provides the sense of
vastness that comes with uncharted territory. You feel as though there’s more
of this world to explore, but without the privileges of Western civilization
our heroes are subject to its dangers. While its characters are far from the
greatest and the film is undeniably dated it’s a visual feast and an
on-location shoot that takes advantage of all the creative possibilities.<o:p></o:p></div>
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<b>Down Under (2016)
– 6/10<o:p></o:p></b></div>
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</div>
<div class="MsoNoSpacing">
Set in the aftermath of the Cronulla riots, two groups on
both sides of the fight, fuelled by hate are driving the streets the Sydney
looking for revenge. I had a lot of fascination in the project from its
release, and I hoped it would showcase a positive and intelligent message. It’s
there, but I don’t think it’s explored to any meaningful extent. What we’re
instead treated with is a couple of tales centred on two groups of obnoxious
imbeciles. I really did not like any of these characters at all. They’re
boisterous in their stupidity and the select few that do have a redemptive
element are treated as tools for its message on the futility of racism. At
times however ‘Down Under’ works very well as a satire and showcases why
patriotism is a driver of violence in a way that makes us laugh. Many have
described the film as important for its comments on very recent Australian
history, but I personally found it exploitive and preachy. It does have its
moments though.<o:p></o:p></div>
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<b>The Old Dark House
(1932) – 8/10<o:p></o:p></b></div>
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</div>
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Set in a remote part of Wales, a group of travellers take
refuge from a rainstorm in the mansion of a family that hold dark secrets and
may be insane. James Whale is a contender for greatest horror filmmaker of his
generation and ‘The Old Dark House’ is, much like his earlier classic
‘Frankenstein’ proof of that. Although the title might lead one toward thinking
it’s generic, this film is a chiller of the highest order. The feeling of
entrapment brought about by the constant sound of rain and thunder, the almost
exclusive use of interior sets and its dark lighting really put you into the
action. Its characters are the real point of fascination. You sense the
anxieties of the protagonists and you’re constantly speculating what the Femm
family wants and what it is they’re hiding. Boris Karloff is the big name
attached, but in all honesty I can’t single out any performance as greater than
any other. They’re a wonderful cast who bring to life characters with explosive
chemistry, and ‘The Old Dark House’ knows all the tricks to making an
effective, creepy movie.<o:p></o:p></div>
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<b>Godzilla vs. Gigan
(1972) – 4/10<o:p></o:p></b></div>
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</div>
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Cochroach aliens disguised as human beings plan to use
the monsters King Ghidorah and Gigan to conquer the world, which brings
Godzilla and Anguirus to come to the Earth’s defence. The Shōwa Godzilla series
is up to its 12<sup>th</sup> instalment with ‘Godzilla vs. Gigan’ and it’s
really starting to take a toll on my patience. Reverting back to a somewhat
less child-oriented approach, this entry suffers from being wholly unremarkable
and frankly incredibly dull. Making use of a cliché-ridden plot and
uninteresting human characters, what Godzilla movies usually do best is hardly
a saving grace here. It’s a monster mash and it’s cool, but these scenes are
overlong and shamelessly exploit prior instalments’ stock footage. ‘All
Monsters Attack’ is often labelled the worst film in the series, but I honestly
found this one harder to get through for its lack of charm and its rushed
production rubbing off on the final product.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<b>Godzilla vs.
Megalon (1973) – 4/10<o:p></o:p></b></div>
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</div>
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An underground kingdom unbeknownst to human civilization
sends the monster Megalon to destroy humanity for their own protection, leading
to a confrontation between Godzilla and the robot Jet Jaguar. Originally not
even intended to be a Godzilla movie but rather a solo vehicle for Jet Jaguar,
a character who was legitimately designed by an elementary school student as
part of a competition. This fact really rubs off. It’s sadly an irritatingly
underwritten film that lacks the creative drive of earlier entries in the
franchise. I do really like its two villainous monsters Gigan and Megalon, and
seeing them brawl with the likes of Godzilla is fun, but sadly is also prone to
getting old. There’s a modicum of humor stemming from its cheesiness and I
think this alone puts it slightly above its weak predecessor. The Godzilla
series really needed its spirit back at this time and this movie showcases
that. Fortunately from what I hear the next film is a return to form.</div>
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<div class="MsoNoSpacing">
<b>Alien: Covenant
(2017) – 8/10<o:p></o:p></b></div>
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</div>
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The crew of the colony ship Covenant discover an
unchartered planet that appears perfect for human settlement, only to learn of
a terrible secret that threatens their lives. A sequel to Ridley Scott’s
earlier film ‘Prometheus’ and a new entry into the larger Alien franchise
proves to be more than competent. It’s a great thriller and I always welcome insight
into the dark universe constructed throughout this long-running series. The
problem is it doesn’t offer anything new and it feels very much like it has
some of the same issues as ‘Prometheus’: A lot of lingering questions and it’s
left without a sense of finality. That said, it’s a fairly dramatic experience,
delivering both sombre moments of exposition and intense if infrequent burst of
sci-fi action. I admire the film’s building of atmosphere, even if this becomes
a little lost in favour building up to something we’re yet to see. ‘Alien:
Convenant’ left me hungry for more, but it can’t compete with greats like the
first two Alien movies.<o:p></o:p></div>
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<b>Godzilla vs.
Mechagodzilla (1974) – 7.5/10<o:p></o:p></b></div>
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</div>
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Apes from outer space intend to take over Earth by having
a mechanical version of Godzilla battle humanity’s protector. After a few flops
with ‘Godzilla vs. Gigan’ and ‘Godzilla vs. Megalon’ I was happy to see an
instalment that’s in the same spirit of the earlier Shōwa. It is light-hearted
and cheesy, but doesn’t toss creativity aside entirely. You can’t put too much
faith in the stories of these movies, but ‘Godzilla vs. Mechagodzilla’ does
make an honest attempt by drawing on its own mythology and putting nature into
conflict with the heartless and mechanical. Although the film’s action is
sparsely distributed it really does pay off. The monster suits look great,
there’s no shameless use of stock footage and Godzilla still proves his knack
for goofy humour. The film isn’t perfect given some underwritten and flat out
pointless choices for what to add to its story. As far as early Godzilla movies
go this is definitely a positive entry, and I look forward to finally
concluding the original series with the next movie.<o:p></o:p></div>
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<div class="MsoNoSpacing">
<b>Detroit Rock City
(1999) – 8.5/10<o:p></o:p></b></div>
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</div>
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Set in 1978, four rebellious teens resort to every act of
desperation to see a KISS concert in Detroit. While it’s evident that ‘Detroit
Rock City’ is attempting to emulate ‘Dazed and Confused’ and other teen movies
of the 1990s I think it stands strong as a true party flick. It’s great to see
a film that’s clearly so light-hearted still go ahead and attempt to serve as a
period piece. There’s a real hilarity, especially in retrospect knowing that a
band like KISS was seen as a Satanic group corrupting America’s teenagers. The
spirit of this movie is of course in its fun-loving nature and depiction of
youth. Although I was never this irresponsible I found the four protagonists to
be hilariously relatable. There’s something about loving heavy music that’s
hard to articulate to those that don’t understand it, but ‘Detroit Rock City’
is fully in touch with this. With a legendary soundtrack, numerous
laugh-out-loud gags and an evident fascination with the 70s, this movie is sure
to leave one feeling positive.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing" style="text-align: right;">
<b>Terror of
Mechagodzilla (1975) – 7/10<o:p></o:p></b></div>
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</div>
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When an alien race starts rebuilding Mechagodzilla to
destroy both humanity and Godzilla a traitorous scientist provides them with
access to another monster, Titanosaurus. Although it was the least successful
film in the entire Godzilla franchise financially it certainly isn’t from a
filmmaking perspective and it’s a solid farewell to the Shōwa series and
Godzilla’s temporary retirement. Although not one of the best it does continue
the usual Godzilla traditions of the time. The fights between Godzilla,
Titanosaurus and Mechagodzilla are the real highlights, and the human story
utilises an amusing science-fiction cheesiness. Many of the tropes are truly
tired out at this point and the wear is still too evident even with improved
writing considered. Lacking in any unique themes or stand-out moments, it works
as a campy action flick.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing">
<b>Frankenstein and
the Monster from Hell (1974) – 8/10</b> <o:p></o:p></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
While hiding in an insane asylum Baron Frankenstein is
joined by a recently condemned doctor in reanimating an ape-like inmate that
committed suicide. The last of Hammer Film Productions’ Frankenstein series is
a fine if flawed conclusion to the gothic reimagining of Mary Shelley’s source
material. While some of the creations brought to the screen in prior
instalments have been underwhelming when compared to earlier examples
‘Frankenstein and the Monster from Hell’ corrects this mistake by giving us a
truly memorable monster that’s both creepy and brutish. There’s always been a
sympathetic element surrounding them though, painting Peter Cushing’s
Frankenstein as manipulative and sociopathic as he is cunning. Although it
often lacks suspense given the characters’ anonymity in this sequel it’s made up
for in fascination. This film really is about prompting intrigue and pushing
the boundaries of this world’s science. Sadly the film is given an extremely
abrupt ending and doesn’t see the series end in the best way, but the overall
film is a great conclusion.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<b>Serial Mom (1994)
– 8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
A devoted wife and mother takes to dealing with the
imperfections of her life by becoming a serial killer, but as her habit becomes
more compulsive a media circus and a police hunt for the infamous ‘Serial Mom’
develop. If there’s any way to describe the films of John Waters it’s that
they’re unique often to a fault and many find them to be an acquired taste. For
whatever reason ‘Serial Mom’ wasn’t donned with the same cult status of
something like ‘Cry-Baby.’ I personally consider this to be a superior film. It
relies heavily on the shock value of its sporadic violence and its central
character’s regular acts of cruelty, largely inspired by the films of Herschell
Gordon Lewis (which are given little nods throughout) but it’s the ironic
humour that makes this film great. It’s well aware of its goals by using
heavily-exaggerated dialogue and drawing the absurdities out of numerous
situations, but at its core it’s a criticism of the hypocrisies of a
conservative suburban lifestyle and it’s suggestive that the picturesque image
we conjure isn’t without an ugly side that can put us on the edge. ‘Serial Mom’
won’t be for everyone, but those with a grim sense of humor will love it.<b><o:p></o:p></b></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing">
<b>Sully (2016) –
8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
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After Chelsey Sullenberger miraculously lands an airbus
in the Hudson River following an accident and saving all the lives on board he
has to deal with his newfound status as a hero while a developing investigation
threatens his career as a pilot. Despite some excellent work earlier in his
career many feel that Clint Eastwood is slipping as a filmmaker, but ‘Sully’
is, to me, proof that isn’t necessarily true. Perhaps it’s imperfect, but I
really believe this is Eastwood’s best film since ‘Gran Torino’ and one of the
best stories of the everyday hero in recent years. This isn’t a story about
tragedy, but rather not-so-straightforward aftermath of becoming a hero. Making
a clever use of structure, the film repeatedly comes back to the few moments
defining Sully’s unforeseen achievement and amazingly delivers a different
emotional result each time. If at times it doesn’t always do its best by
secondary characters, and a rushed ending leaves one slightly unsatisfied
‘Sully’ is a solid achievement for both Eastwood and star Tom Hanks.</div>
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<b>The Return of
Godzilla (1984) – 8/10<o:p></o:p></b></div>
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Thirty years after his original rampage Godzilla
re-emerges and attacks Japan, bringing the threat of a nuclear conflict with
him. Considering how goofy the original series became by the 1970s I’m beyond
that Godzilla went into a temporary retirement and came back in full force with
‘The Return of Godzilla.’ While it’s no competitor with the 1954 classic it’s
succeeded wonderfully in updating its message to the 1980s. Godzilla is a force
of chaos, but what this film asserts is that humanity’s capacity to destroy
itself through atomic war is a much greater danger than a villainous giant
lizard. Lacking in any standout performances or any truly compelling human
characters it makes up for it in the joyous destruction and flashy (if
outdated) special effects. What the original Godzilla did for post-war Japan,
this movie does the same for the intense final decade of the Cold War and this
makes it better than any sequel in the Shōwa series.<o:p></o:p></div>
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<b>Ender’s Game
(2013) – 7.5/10<o:p></o:p></b></div>
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Fifty years after the initial invasion of Earth by a
genocidal alien race is prevented, young Ender Wiggin is selected for his
intelligence and empathy to lead a new generation of fighters in his planet’s
defence against their enemy. Everything I’ve heard about the original novel is
that it’s thought-provoking and full of excitement. This film is an
underachiever in both of these respects, but still proves competent as a sci-fi
movie. What holds ‘Ender’s Game’ back from achieving real greatness is its own
thematic confusion and lack of payoff. It does very little in exploring the
relevance of our hero’s incredibly young age or the moral implications of
military aggression in the name of defence. The maturity of Ender and a solid
performance by Asa Butterfield draw us into the many battles of this
character’s life, but when much of the plot is dedicated to simulated warfare
scenarios it begs the question of what genuinely constitutes genuine cinematic
action. Regardless of some flaws, I loved the surprises of the final act that
do, if briefly, summarise its pro-peace, compassionate message.<o:p></o:p></div>
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<b>Metal: A
Headbanger’s Journey (2005) – 8/10<o:p></o:p></b></div>
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Sam Dunn travels the world
exploring the musical subculture of heavy metal, looking into its origins, key
groups, genre distinctions and the qualities that make it both loved by fans
and condemned by those outside of it. This is not my first time watching
‘Metal: A Headbanger’s Journey,’ but it’s a documentary film I’ve always found
myself coming back to. How could I not be drawn to a film about the best music
in the world? What Dunn’s film illustrates is that metal isn’t a casual element
in the lives of its fans, but an empowering force that few understand (and we
won’t have it any other way). Structurally the film is appropriately broken
down into key areas demanding exploration. Media censorship, male dominance,
Satanism, the works. The only issue is that given the genre’s immensity
attempting to cover everything is far too ambitious. Regardless of whatever
shortcomings there may be ‘Metal: A Headbanger’s Journey’ is a passionate
documentary, and if its many interviews are indicative of anything it’s that
its fans and musicians love the music and the heavy metal way of life.<o:p></o:p></div>
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<b>The BFG (2016) – 7.5/10<o:p></o:p></b></div>
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An orphan girl befriends a compassionate giant, and
together they attempt to stop his man-eating co-dwellers from harming the human
world. With two huge projects based on real-world subjects ‘Lincoln’ and
‘Bridge of Spies,’ Steven Spielberg has given us a solid family-fantasy film
based on the famed Roald Dahl book. Does it work? Predominantly, yes. ‘The BFG’
is light-hearted and puts a smile on the face, but it also doesn’t leave much
of an emotional impact. For everything that’s charming and funny about this
film there’s usually something painfully clichéd or dare I say even immature.
At times it seems as though the film isn’t sure of what to do with a plot too
thin for a near two hour runtime and it aimlessly plays around rather than
building stakes or characters. As a family film it succeeds in inspiring the
imagination through its fantastic visuals and innocent nature, but where ‘The
BFG’ falls short is in pacing and its leaving us craving more.<o:p></o:p></div>
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<b>Abbott and
Costello Meet Frankenstein (1948) – 8/10<o:p></o:p></b></div>
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Chick and Wilbur, two hapless freight traders find
themselves subject in Dracula’s plot to revive the Frankenstein Monster while
the Wolf man tries to stop him. ‘Abbott and Costello Meet Frankenstein’ can be
understood in two ways: As proof that the classic Universal monsters had become
so tired to the point of being comical, and as one of the great horror-comedies
of the golden age of cinema. Wanting to think positively I subscribe to the
latter position, but the former undoubtedly holds weight. The joys of this
movie really have little to do with whatever creep factor you might associate
with its trio of monsters, but the role they play in juxtaposing their iconic
status with Abbott and Costello’s humor. There are times where we’re treated
with mere laughs, and other times more dramatic stakes enter the picture.
Either way the film is a delight thanks to the titular duo’s screen
performances, a genre-balancing script and the long-awaited reprisal of Bela
Lugosi as Dracula.<o:p></o:p></div>
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<b>The Boy and the
Beast (2015) – 8/10<o:p></o:p></b></div>
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A recently orphaned boy inadvertently wonders into a
world of bipedal beasts and is taken under the wing of an insecure and
short-tempered warrior. The latest film by animator-director Mamoru Hosoda is
fantastical if any movie ever was, and it continues in the line of his three
great earlier film, ‘The Girl Who Leapt Through Time,’ ‘Summer Wars,’ and ‘Wolf
Children’ although admittedly it is my least favorite of the four. ‘The Boy and
the Beast’ succeeds in the expected areas. It’s a beautifully animated movie
full of vibrant color and infinite levels of imagination in its fictional
world, but the real appeal is in its more human drama. Encompassing themes of abandonment,
family, belonging, personal growth and the objective good, we’re treated to a
story about a boy’s unlikely, yet quarrelsome relationship with someone that
proves to be symbiotic. ‘The Boy and the Beast’ is sometimes very funny, sometimes
touching, but most of the time it sweeps you up in a wonderful world that turns
the turns the ordinary into the extraordinary without trivializing anything human.</div>
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<b><u>My Top 10 Movies for May 2017</u></b></div>
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1. Detroit Rock City</div>
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2. The Magnificent Seven</div>
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3. King Soloman's Mines</div>
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4. Sully</div>
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5. The Boy and the Beast</div>
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6. The Old Dark House</div>
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7. The Return of Godzilla</div>
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8. Metal: A Headbanger's Journey</div>
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9. Serial Mom</div>
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10. Abbott and Costello Meet Frankenstein</div>
TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-11552304055864301382017-05-24T07:22:00.002-07:002017-05-24T07:24:19.372-07:00My Thoughts on the Shōwa Godzilla Movies<div class="separator" style="clear: both; text-align: center;">
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Godzilla is one of those iconic characters in film that everybody knows about, yet very few (in the West at least) have seen any of the movies he's starred in. Growing up my exposure to these movies was very limited. I saw the 1998 American remake directed by Roland Emmerich several times when I was very young and I still hold it up as a guilty pleasure to this day, but it never satisfied my curiosity towards the real Godzilla: The monster from countless films produced by the Japanese film studio, Toho.<br />
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I've set out to make this a thing of the past. I'm gonna watch all 29 of Toho's efforts if for no other reason than to celebrate Godzilla's revival in both recent Japanese and American productions and ongoing status as the greatest giant movie monster. 15 movies later I've now seen every movie in the original Godzilla series (widely known as the Shōwa series and released from 1954 to 1975). I'm not trying to review every individual film, but rather just share some thoughts I have on this series as a whole.<br />
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Starting at the beginning, the original <i>Godzilla </i>from 1954 would eventually become an anomaly within the Shōwa series. This was nothing like what the series would eventually become in the 60s and 70s. Beyond being a revolutionary entry into the giant monster genre it has a unique place in Japanese film history. The memory of the atomic bombings of Hiroshima and Nagasaki in 1945 and the post-war period oversaw a society in great need of rehabilitation given the war's destructive impact. In light of these horrors and the lingering threat of nuclear war, <i>Godzilla </i>was more symbolic than anything else of the dangers of humanity creating a means of destroying itself. It's one of the best films of the early nuclear age.<br />
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This dark depiction of the nuclear age would not remain in future Godzilla movies. The original made its point, so other Shōwa entries showed little to no intention of repeating it. However the series' progression towards being playful and family-oriented has some pretty mixed results. The second film <i>Godzilla Raids Again </i>pales in comparison to its predecessor despite baring some similarities. <i>King Kong vs. Godzilla </i>gave Western audiences an introduction to the character by pitting him against the equally iconic giant gorilla. The Shōwa era also boasted some great movies like <i>Mothra vs. Godzilla </i>and <i>Invasion of Astro-Monster</i>. I really do admire the creativity involved in creating all these different monsters as well as the sheer joy in watching them beat each other up, demonstrated best in <i>Destroy All Monsters.</i> The inconsistency across these movies is probably their biggest downfall. I don't mind Godzilla's transformation from the Japanese nation's horror to its guardian angel, but the camp factor and comedy became so tiresome. <i>Son of Godzilla </i>employed this to an entertaining extent, but it's overbearing in <i>All Monsters Attack </i>and <i>Godzilla vs. Gigan. </i>With 14 sequels and a majority being very nothing like the original masterpiece it's hard to not feel like they overstayed their welcome.<br />
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The Shōwa series had its moments of greatness, and I'm not talking about just the 1954 original. I've always loved cinema as a whole and exploring certain niches is one of the best parts of being passionate about cinema. Giant monster movies are hardly the smartest movies out there, but they offer a unique appeal that's hard to articulate without sounding silly. Personally though I'm very happy to have pushed through the Godzilla franchise this far and I can't wait to sink my teeth into something more modern.TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-45630900378305976022017-05-24T05:27:00.001-07:002017-05-24T05:27:14.930-07:00Review: Speed (1994)<b>Directed by: </b>Jan de Bont<br />
<b>Written by: </b>Graham Yost<br />
<b>Starring: </b>Keanu Reeves, Dennis Hopper, Sandra Bullock and Jeff Daniels<br />
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More than twenty years on I think it's become very easy to overlook <i>Speed</i>. It's one of those films that you watch once, it thrills you like few other movies ever will, but then it gets pushed aside. We either forget the kind of effect it had on us, or we revisit it and it doesn't hold up the same way. Suspense really is about anticipating a certain result and knowing a film's outcome can really change the experience as a whole. When I first saw <i>Speed </i>in high school I adored it. It was one of the most intense film experiences I've ever had, and watching it again more recently I still look at it as one of these experience. I was not as on the edge of my seat as a I was when I first saw it, but I think I'll always be 'in it' as much as its characters.<br />
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The story concerns a young SWAT officer, Jack foiling the effort of Howard, a sociopathic, money-hungry bomber seeking a ransom. In an act of vengeance Howard rigs a Los Angeles bus with a bomb that'll detonate if it drops below 50 mph forcing Jack to use all of his wits save the lives of those aboard while the LAPD tracks down the cruel man responsible.<br />
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While the premise doesn't allow for the most in terms of character development or drama it makes up for this by driving the suspense up to the highest possible limit. I can't even think of that many films that have given me the heart-pounding feeling I got here watching this bus go down the road while its characters contend with each new obstacle. Director Jan de Bont illustrates an aptitude for building tension through lightning-fast yet carefully edited scenes and choices in sound that amplify the sense of urgency. The script's nearly total taking place on the bus itself puts the viewer right in the middle of the situation, creating a sense of empathy with otherwise arbitrary people.<br />
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As far as character goes it really isn't anything special. Keanu Reeves and Sandra Bullock are likable as Jack and Annie despite having no characteristics that stand out from any typical action movie hero/heroine. What actually grabbed me more than anything was just how much <i>Speed </i>makes you hate its villain, Howard Payne. Dennis Hopper shouts cheesy, narcissistic dialogue like no other and this man's moral bankruptcy really puts him into a league of his own. He's not a compelling villain like Darth Vader or Norman Bates. He's simply a bastard you want to see get his comeuppance.<br />
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It's fascinating that I and many other can hold <i>Speed </i>in such high esteem despite how unevenly it applies the conventions of a great cinema. I don't think Jan de Bont is a great director, but I think this, his feature film debut is in a lot of areas of mastery of certain techniques. This movie isn't perfect, but if someone is looking for a thrill-ride like no other this will be one of my first recommendations. If you haven't seen <i>Speed</i>, please do so. I'm envious of everyone that still has the opportunity to see it for the first time.<br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-60938241709144797052017-05-02T21:10:00.001-07:002017-05-02T21:10:03.536-07:00Film Summary: April 2017I would have liked to get a few more releases under this list, but my focus was in other areas. I continued in my efforts of revisiting some all-time favorites in the first half of the month, and I was struck with a sudden period of busyness at both work and with study. I only have 11 movies to add here, but hopefully May will be different. Here's what I thought of them!<br />
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<b>The Kids Are All
Right (2010) – 8/10</b></div>
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Two children conceived through artificial insemination
bring their biological father into their family life, leading to complications
with their lesbian parents. The final Best Picture-nominated film from that
year I needed to see is a mature look at non-traditional family life, and it’s
also one that asks the audience to examine their own feelings. Though it is
often unconventional it’s also willing to explore both questions of ethics and
real, down-to-earth problems centred on love and commitment. There’s no
definite line where your sympathies are meant to lie, and each character is
fleshed out with their own unique strengths and shortcomings that make them
feel real as people. I especially loved the chemistry between Julianne Moore
and Annette Bening as the matriarchs of this story, but Mark Ruffalo brings his
own touching demeanour to the table. ‘The Kids Are All Right’ is non-judgmental
and mature, even if that means it won’t work out as happily as one would wish.</div>
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<b>Police Story 3:
Supercop (1992) – 8/10</b><o:p></o:p></div>
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Ka-Kui is given a special assignment and sent abroad to
the mainland to take down an international drug smuggling ring. The third
Police Story movie often known as simply ‘Supercop’ continues in the spirit of
its predecessors and reinforces that fact that Jackie Chan is one of the
greatest martial artists ever to appear on the silver screen. Having grown
attached to Ka-Kui over the course of prior adventures I took special joy out
of seeing him placed in a foreign environment. The series is noted for its
mixing its action with comedy, but in this instance I felt the comedy was
moderately toned down and not always to the best effect. However this is made
up for through its stunts, which are arguably the best I’ve so far seen from
these films and Jackie’s teaming up with China’s Michelle Yeoh delivers what
you’d expect: Martial arts brilliance of the highest order.<o:p></o:p></div>
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<b>Furious 7 (2015) –
8/10<o:p></o:p></b></div>
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Despite leaving the mercenary life behind, Dominic
Toretto and Brian O’Connor reassemble the crew to contend with their past
adversary Owen Shaw’s vengeful brother and a terrorist chasing a dangerous
computer program. Though I felt the previous film offered a worthwhile
conclusion, I’ve generally liked revisiting these characters with each
successive Fast and Furious movie. ‘Furious 7’ features some obvious signs of
wear, but generally performs as well as you’d expect it to and offers some
finality. Why they’re releasing another movie in light of this ending and Paul
Walker’s death I won’t attempt to explain. The film’s strengths are obvious,
with its excitingly over-the-top stunts and its pockets of drama which only
become more relevant as these actors/characters get older. Sadly it falters
with some occasionally out of place humour, and an incredibly limited use of
some leads. These movies are great popcorn entertainment, but the final curtain
call is due.<o:p></o:p></div>
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<b>The Wind (1928) –
8/10<o:p></o:p></b></div>
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A woman from the east moves in with her cousin on the frontier,
and comes to struggle with both love and her fear of land’s incessant wind.
Although being released towards the end of the silent era, Victor Sjöström’s
‘The Wind’ is a crucial entry into the history of film and particular for the
western genre. With that said I really love its unspecific fit into any lone
category. It experiments with romantic drama equally with its depictions of
frontier life, and more importantly it’s a work that gets into the mind of its
main character. Lillian Gish is wonderful at demonstrating Letty’s anxieties,
strive for happiness and ultimately her breakdown and rejuvenation. I sense
that the film is subtly hinting at the place women held in the wild American
west and encourages feelings of empowerment. Above all, it’s a wonderful silent
flick that stands the test of time and showcases just how potentially great
these kinds of movies are even in the 21<sup>st</sup> century.</div>
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<b>Little Caesar
(1931) – 8.5/10<o:p></o:p></b></div>
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A small time crook moves into the big city hoping to
strike it big as a gangster, but when his ambition attracts attention of the
law his newfound life starts to fall apart, piece by piece. Like many gangster
movies of the time, ‘Little Caesar’ is equal parts an exploitation of lurid
subject matter and a public service announcement directed at gangland and the
question of prohibition. Although being made in the 1930s puts it under a lot
of restrain by modern standards, it’s ironically this same restraint that
allows the movie to thrive. Every shot fired, every threat made by Rico and his
gang and every moment of suspense just feels all the more powerful when
delivered conservatively. I loved Edward G. Robinson’s performance as
Rico/Little Caesar, and it’s one of the rare instances where my fascination and
dislike of a character have been at odds with one another. Its statement about
the menace of organised crime is hardly unique, but it offers a vivid insight
into the world that is the mob in the Prohibition era and makes it all the more
better as a movie about the bad guy.<o:p></o:p></div>
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<b>Samurai Rebellion
(1967) – 8/10<o:p></o:p></b></div>
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During a period of peace in Japan in 1725 a respected
swordsman retires and leaves his son as head of his family. After marrying the
former mistress of a feudal lord, the status and safety of the family is put at
risk when the ruler requests her return and is rejected. ‘Samurai Rebellion’ is
a lot of things, and it may mislead audiences that expect it to be heavy on
swordplay and violence. Of all things though, the movie is both hugely
Shakespearean in its nature in the way it plays on numerous themes at once:
Family, honour, justice and power. There’s a lot going on in this movie that it
makes it hard to pinpoint what it does best, but in my opinion it’s in the
notion that conventions should be defied for the greater good. It questions
that place of government as the source of societal norms and moral behaviour
and naturally has an anti-conservative, anti-authoritarian stance. Looking at
it more on the surface though, it’s further proof of Toshirô Mifune’s mastery
of the acting professional and Masaki Kobayashi’s effective direction of a dark
tale.<o:p></o:p></div>
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<b>All Monsters
Attack (1969) – 4/10<o:p></o:p></b></div>
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A bullied schoolboy has a reoccurring dream of visiting
Monster Island, where he befriends Minilla who turns out to be having a similar
problem. Considering ‘Destroy All Monsters’ was originally intended to be the
end of the series, ‘All Monsters Attack’ is an example of where a lack of ideas
and prolonging a series’ lifespan can only bring about a movie that’s redundant
before it even begins. Toho throws away whatever adult elements still existed
and instead makes a pitiful children’s film. There’s a modicum of fans that
defend it for its light-hearted nature and anti-bullying message, but it just
doesn’t work for me. The movie is incredibly tedious given its lack of any
compelling stakes and reliance on goofy humour. I wish I could say that ‘All
Monsters Attack’ is a so bad-it’s-good movie, but honestly its production value
is probably too high for that. Its worst shames are recycling stock footage
from previous movies and jarring its dedicated fanbase, making the tenth
Godzilla movie a huge mistake.<o:p></o:p></div>
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<b>Queen Christina
(1933) – 8/10<o:p></o:p></b></div>
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The Queen of Sweden is a dedicated monarch beloved by her
subjects, but when she falls in love with a Spanish envoy she’s forced into an
uncomfortable position, having to choose either loyalty to the country or a
happy future. Widely regarded as Greta Garbo’s finest hour as an actress,
‘Queen Christina’ is a fascinating biopic and the epitome of old-Hollywood
glamour in cinematic form. As far as its romance is concerned it’s admittedly
nothing special. Garbo’s chemistry with Gilbert is solid, but this isn’t what
makes the movie for me. I appreciated the movie more for its themes and
production values. The sets are wonderful, illustrating the privileges of
royalty and its place in the politics of 17<sup>th</sup> century Europe.
Thematically the film deals in varying degrees religion, nationality,
patriotism and loyalty to the state and boldly states that none are as
significant as the individual’s search for happiness. It’s an individualist
film that remains beautiful even today.<o:p></o:p></div>
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<b>Diabolique (1955)
– 8/10<o:p></o:p></b></div>
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The wife and mistress of a cruel headmaster conspire to
murder him to have him out of their lives, but when the corpse disappear it
sets off a chain of events that progressively drive the two women insane. Now
credited as one of Europe’s best thrillers and an inspiration for countless
horror movies since, it took me far too long to finally sit down to watch
‘Diabolique.’ While I personally don’t think it’s as sensational today as it
was upon its original release in the 1950s it holds up incredibly well and this
can be credited all to Clouzot’s direction. It can seem pretty minimalist, but
it’s so effective in creating suspense. It’s especially admirable because the
film’s tone can be subject to change. Unsurprisingly ‘Diabolique’ is best
remembered for its Hitchcockian twist ending, which is prime example of how to
shock an audience. Its French origin might mean some will overlook it in favour
of a contemporary Hollywood thriller, but ‘Diabolique’ is remains great today.<o:p></o:p></div>
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<b>Switchblade
Sisters (1975) – 8/10<o:p></o:p></b></div>
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The leader of an inner-city girl has doubts about the
permanence of her leadership when a new girl proving more capable arrives on
the scene and influences them in a new direction. Praised by Quentin Tarantino
as one of the masterworks in B-grade cinema, ‘Switchblade Sisters’ may be
trashy but it’s totally in spirit with the best of exploitation movies of the
1970s. There’s a certain blend of aggression and cheesiness about the
production that makes it so worthwhile. Although performances are moderate at best,
the spirit of rebellion and freedom is expressed through its surprisingly
engaging cast of characters. These are people who rule in their little niche of
a world and don’t take ‘no’ for an answer. Much like Jack Hill’s other
exploitation work, it’s especially notable for its dated 70s soundtrack,
wise-guy dialogue and sporadic violence. It’s not class, but ‘Switchblade
Sisters’ is wonderful fun.<o:p></o:p></div>
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<b>Hell or High Water
(2016) - 8/10<o:p></o:p></b></div>
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A divorced father and his ex-con brother engage in a
series of bank robberies across Texas to save their late mother’s ranch set to
be repossessed by the bank they’re robbing from. A Best Picture nominee at last
year’s Oscars and rightfully so. ‘Hell or High Water’ is as much a
distinctively southern film as it is a throwback to the great westerns of the
past, though not in the way you might expect. Its modern setting places it
apart from something like ‘Unforgiven,’ ‘Open Range,’ or ‘Appaloosa’ but it
utilises similar ideas. In many areas it offers nothing new, but tweaks these things
ever so slightly to the benefit of feeling fresh and new. Exploring its two
central characters, played wonderfully by Chris Pine and Ben Foster it
considers whether nobility can exist in a life of crime, or if every act by the
law is in the name of justice. It’s a film that poses questions in plenty of
grey zones, and besides being a neo-western that makes you think it’s all
around incredibly thrilling.<b><o:p></o:p></b></div>
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<b><u>Ranking the Movies!</u></b></div>
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1. Little Caesar</div>
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2. Hell or High Water</div>
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3. Samurai Rebellion</div>
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4. Queen Christina</div>
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5. Switchblade Sisters</div>
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6. Diabolique</div>
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7. The Wind</div>
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8. The Kids Are All Right</div>
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9. Furious 7</div>
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10. Police Story 3: Supercop</div>
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11. All Monsters Attack</div>
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TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-78878359550359297192017-04-16T08:13:00.003-07:002017-04-16T08:13:54.861-07:00Review: Escape From New York (1981)<b>Directed by: </b>John Carpenter<br />
<b>Written by: </b>John Carpenter and Nick Castle<br />
<b>Starring: </b>Kurt Russell, Lee Van Cleef, Ernest Borgnine, Donald Pleasence, Isaac Hayes and Harry Dean Stanton<br />
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I really love John Carpenter. Not only do I think he's one of the best directors of the modern era, but he's a figure that's had a profound influence on me. There are few movies I hold to a higher level of personal importance than <i>Halloween</i>. Throughout his career he's proven himself a master at both horror and science-fiction, but what's consistent across both of his exploits is he delivers something that's a ton of fun. Although he's slipped in recent years, Carpenter's work from the 70s through to the 90s has bee gold. <i>Escape From New York </i>is one of his finest hours as a filmmaker. A terrifying vision of what was at the time the near future, a gripping action-thriller and worthy recipient of cult status.<br />
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Made in 1981, the film envisions a future United States where crime has risen by 400% and Manhattan Island has been transformed into a gigantic maximum security prison. In 1997, during peace talks with China and the Soviet Union terrorists hijack Air Force One and crash it in New York, leaving the President in the hands of ruthless criminals. The government enlists the help of a former Special Forces operative named "Snake" Plissken and sends him on a one-man rescue mission in exchange for a pardon of his crimes.<br />
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Looking at the movie's dystopian world it can be looked at from both a retrospective and contemporary perspective. Looking at it from 2017 there's a certain hilarity about its vision of 1997. Its ideas are evidently rooted in the Cold War heating up again in the early 1980s and the militarization of the Reagan era. There's a sense that it's really stuck in its own era, and this actually goes beyond Carpenter and Castle's imagination as writers. The costuming and music choices are clearly fads of the time. There's a certain cheesiness that comes with its semi-B-grade nature that reminds me of Carpenter's earlier film <i>Assault on Precinct 13.</i> Fans of that would love it, but it lead others to condemn it as 'cheap.' However, when you look at it with context in mind I actually think it's a reflection of uncertainties in a time of widespread conservative backlash and a global situation that's moving further away from peace. Although it's obviously an exaggerated vision, I can see how its bleak depiction of a future New York would hit close to home.<br />
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Carpenter's direction and co-writing serve his visions well, but I'm amazed that they've succeeded in grouping so many cult stars into a single production. Kurt Russell is one of the definitive action heroes of 1980s Hollywood, and he's among my all-time favorite actors. While I'm not sure if it's his greatest performance as there are others worthy of the title, Snake Plissken serves as a testament to writing a great anti-hero. He may be pulling off one heroic after another, but he does it out of pure self interest and is too ready to make even more hell of the situation. He's badass to the core. Iconic as Russell is as Snake, I love the contributions of Isaac Heyes, Donald Pleasence and the rest. All these performers command admiration from their dedicated fanbases, even if a few of them do ultimately come off as slightly over-the-top.<br />
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With its unsettling vision, an enjoyable degree of outdatedness and a cast made up of several figures all with a unique history in entertainment, <i>Escape From New York </i>is a brilliant piece of escapism. Even though it doesn't hold up in the same way it did in the 80s, its ageing offers perks of its own. While modern action movie viewers might brush it off, a cult-like fanbase that I'm happy to be a part of will hold its place in film history for years to come. The 1996 sequel <i>Escape From L.A. </i>is also well-worth checking out.<br />
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<b>My Rating: 8.5/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-10371428193695035492017-04-16T01:45:00.002-07:002017-04-16T01:45:08.779-07:00Review: The Searchers (1956)<b>Directed by: </b>John Ford<br />
<b>Written by: </b>Frank S. Nugent<br />
<b>Starring: </b>John Wayne, Jeffrey Hunter, Vera Miles, Ward Bond and Natalie Wood<br />
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When John Ford came to Hollywood I don't think anybody could have predicted that he'd one day be considered one of the most significant figures in Western storytelling. When I first saw <i>The Searchers</i> years ago it didn't grab me for whatever reason, but I've seen it a few times since and progressively I've embraced it as much as any film critic. It's a true genre film to its very core. It sets a standard for Western movies that any writer or director looking to make one should aspire to. This is because of numerous factors, but if I had to rule it down to one I'd say that it's because it embodies the clash between civilization and the frontier wilderness like few others do, all the while pulling us in with the stories of main characters. Is it the greatest western ever made? In my opinion no, but it's a real contender for such a title.<br />
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Beginning in 1868 Texas, a veteran of the Confederate army, Ethan Edwards returns to his family's ranch home after many years of absence. Although it seems to be the place for new beginnings in his life an attack by a Comanche tribe leads to his family being murdered and his young niece abducted. Over the course of the next several years Ethan, accompanied by his adopted nephew Martin Pawley, ventures across America to find her while clinging to the hope that she's even alive.<br />
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What becomes immediately evident is the film's aesthetic beauty. Right away we're given a wonderful opening shot that would hold great symbolic power later on and an insight into the world of the Old West. It's crisp, sparse and seemingly endless. This only improves as it progresses and Ford experiments with the wonders of Technicolor and a variety of different locations. It really does enhance the story's scope, the extended sense of time and puts us into this America of the past. Even the interior sets have a certain vibrancy that's hard to describe. I consider it one of the most visually-stunning movies ever made.<br />
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All these aesthetics considered, what really makes it is its characters. Although characters like Martin and Laurie have their own compelling stories to tell, and Debbie serves as the dramatic question, Ethan's place in the film is by far the most fascinating. This is because there's a lack of certainty about his motivation. His search becomes increasingly obsessive, and we're speculating whether he's more driven by his love for family or his hatred of the Indians. John Wayne is known for his playing hard-as-nails characters that reveal their humanity with a degree of apprehension, and he blurs the lines of Uncle Ethan like few actors could. The film's final image of Ethan standing outside the door suggests his being confined to the outside world, but growing as a man as a result of it. It's a sweet finale to a flawed character. Thematically, Ethan embodies the bitterness of the South's failed rebellion, but also the contemporary view of the Indians holding back the expansion seen as crucial to the country's future. This does lead it to putting the Indians into a straight-up villainous position, and Ethan's consistent racism stands out, but I do feel it's still something we're left to form our own opinions about. For me, it all just comes back to character and his divisive nature's way of compelling us.<br />
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<i>The Searchers </i>influence can be seen all across the cinema made since, particularly in the films of George Lucas, Steven Spielberg and Martin Scorsese, but more importantly it's an adventure that gives you something to think about. When I think of the best western of all time I think <i>The Good, The Bad and the Ugly</i>, but if you were looking for a template to base any great western on <i>The Searchers </i>is the answer.<br />
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<b>My Rating: 9/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-40045677360434076292017-04-13T07:53:00.001-07:002017-04-13T07:53:06.309-07:00Saying Goodbye: My Memories of the Video Store<div class="separator" style="clear: both; text-align: center;">
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A few weeks ago a friend and I were driving out to the only movie rental store still around our area. For months you were able to walk in, scan an ex-rental pile and take home used movies for as little as $2 a DVD. I don't think I've ever purchased as many usually expensive foreign releases in a single place. When we arrived we saw that the 'Blockbuster' sign had been taken down, the doors were locked and the store was empty. It dawned on me that the final of these great facilities in my location will never loan out another movie ever again. It was very harrowing for me, especially given that this particular store seemed to be surviving in the digital age. Clearly the times caught up with it.<br />
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I won't try to hide the fact that I get very sentimental thinking about the video store. The bankruptcy of Blockbuster in the United States marked the end of an era. In writing this, my goal is not to blame streaming services like Netflix and Hulu. They have their place in our modern world of entertainment, and they've succeeded for good reason. Nor am I going to blame piracy or the indifference of the masses. All I want to do here is share my fond memories of these places and hopefully communicate my admiration for everything that they were.<br />
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My visits to the video store began at a young age. I can't pinpoint what my first experience was. All I know is that as young as 5 I would be engulfed by excitement every time I went in. It wasn't just the joy of knowing I'd be going home to watch what I rented, but I loved walking around the store and looking at all the different titles. Wandering through the science-fiction, action, drama, comedy and horror sections was my earliest lesson in the importance of genre.<br />
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Upon entering my teen years the store gradually starting feeling like a second home as my visits became more frequent. The particular one I used to visit was in a local shopping center that was only a ten minute walk from my house. It was a Civic Video, a popular chain in Australia and it was HUGE! I could go in looking for a specific movie and there was an incredibly good chance that I'd be watching it at home that same day. I made the most use of the store on Wednesday afternoons. I'd finish school, walk home to get changed and be off to the store with some money. They had $1 Weekly Rentals and I utilized the hell out of it. One time I went home with ten movies and I watched every single one of them.<br />
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At that time I used to spend a lot of time in meditation. I walked through the streets blasting heavy metal on my iPod to deal with whatever I was feeling. On my usual route I'd go into the video store. I wouldn't necessarily be looking for something, but I simply loved the environment so much and looking at all the movies in there that it didn't matter that what I was doing was completely aimless. Sometimes I'd visit the place several times a day, a benefit of being a schoolboy with no real responsibilities. I became such a regular that most of the staff just let me rent anything without caring about my adolescence. This is something they could have been in a lot of trouble for, but they knew there'd be no issues loaning these DVDs to me given my frequenting the place and my well-known viewing habits. I even applied for a part-time job there once, but sadly such an opportunity never came.<br />
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I wish I could pick a specific memory that stands out, but this was never about particular experiences. Instead it was always about its role as a sanctuary for my exploration of my film passions, and as a place of discovery. The demolition of the shopping center because of soil pollution meant the end of this store, and towards the end of 2010 it closed for good. It was a sad day, but one I had prepared for. For a while I was visiting the place's former competitors, and none could ever match it. Not in quality of service, movie catalogue, convenience or emotional attachment. Eventually I settled on a Quickflix subscription that I still use to this day.<br />
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As video stores closed one after another it became clear that the show was over. Although some stores are still around, they won't be for long. For me, the end came when my Civic Video had to close its doors. I can't even find a picture of the place online and it goes to show that the past and those good times really are over. Times have changed, I have changed, but the memories of the video store are something I'll cherish forever.TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-38351620820440432862017-04-11T09:15:00.000-07:002017-04-11T09:15:12.057-07:00Review: Ernest Goes to Camp (1987)<b>Directed by: </b>John R. Cherry III<br />
<b>Written by: </b>John R. Cherry III<br />
<b>Starring: </b>Jim Varney, Victoria Racimo, Iron Eyes Cody and John Vernon<br />
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It might come off as a bit unusual to so enthusiastically review this movie, let alone remember it as fondly as I do, but it's my opinion that this is not only a wonderful summer camp movie, but a great example of one that leaves you feeling very happy. <i>Ernest Goes to Camp </i>isn't the first movie to star the titular character (having been preceded by <i>Dr. Otto and the Riddle of the Gloom Beam </i>a year earlier) but it's the first to popularize him in such a way, establish his family-friendly tone and push him into one sequel after another. In all fairness, these <i>Ernest </i>movies are pretty trashy and I speak from the perspective of only watching up to <i>Ernest Scared Stupid</i>, but there's something about this one that keeps me coming back.<br />
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In his first movie, Ernest P Worrell is a clumsy handyman at Camp Kikakee, a summer camp built on top of sacred Indian land. Ernest aspires to be a counselor, but his superiors won't trust him with the responsibility. A group of juvenile delinquents are sent to the camp in the hope to teach them discipline and values, and circumstances put Ernest in charge of managing them when all they want to do is cause trouble. At the same time, a mining company has its eyes set on the land with the intention of harvesting a rare mineral, and uses every dirty tactic to obtain rights to it.<br />
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For any review of an Ernest movie to work it's best the reader knows something about who this character is. Throughout the 1980s, Ernest P. Worrell was a character in the world of television that would advertise products, from Coca Cola to <i>Hogan's Heroes</i>. While hardly more than a goofball he had a wonderful demeanor thanks to his being played by the late Jim Varney, a true character actor. <i>Ernest Goes to Camp </i>makes the absolute best of Ernest's potential, even if it doesn't necessarily subscribe to the standards of great filmmaking.<br />
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Given that this movie is so cartoonish with its exaggerated gimmicks and unbelievable characters it fortunately puts itself in a zone where nobody expects it to overachieve and we willingly accept its faults. Some gags become really drawn out, performances range from average to completely over-the-top and at least 30% of the film is dedicated to filler that clearly doesn't lead the plot anywhere. I'll be the first to admit that some aspects of this movie are quite baffling in their logic. Why do I think it still works? It comes down to the feeling of fun. There's a sense that Varney, director John Cherry and everyone else is having a wonderful time making this picture. Like any other great movie it also comes down to character. He may be a silly invention made for advertising, but I personally find a good chunk of scenes absolutely hilarious. Varney was a wonderful performer for slapstick comedy, and the writing takes advantage of it at every turn.<br />
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It currently holds a rating of 5.5/10 on IMDb and a 62% at Rotten Tomatoes, and I imagine these votes were made on valid criteria. It's a cheap comedy designed for family viewing, but if you're after a movie featuring a delightful character, wacky antics and you want to turn the brain off then <i>Ernest Goes to Camp </i>is for you. If you like it, I'd also recommend <i>Ernest Saves Christmas, Ernest Goes to Jail </i>and if you're patient <i>Ernest Scared Stupid. </i><br />
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<b>My Rating: 8/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-77268431732587418622017-04-05T07:45:00.002-07:002017-04-05T07:45:44.657-07:00Review: The Lives of Others (2006)<b>Directed by: </b>Florian Henckel von Donnersmarck<br />
<b>Written by: </b>Florian Henckel von Donnersmarck<br />
<b>Starring: </b>Ulrich Mühe, Martina Gedeck, Sebastian Koch and Ulrich Tukur<br />
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When it comes to films dealing with the past there's a certain unspoken responsibility for writers and filmmakers to be both as honest and respectful as possible. When I recently reviewed <i>Casablanca </i>I praised it for encapsulating the mood of the time, but I imagine the burden is even heavier on those looking back. While the former German Democratic Republic is generally remembered a lot more positively by those that lived in it than its opponents it had some dreaded elements that provide more than enough to serve as the basis of human drama. <i>The Lives of Others </i>does this exceptionally, putting the totalitarian Stasi and its intrusion into people's affairs under the microscope.<br />
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In the year 1984, glasnost and perestroika have yet to begin and the authorities in East Germany are their citizens under their thumb through a system of mass surveillance by the Stasi, the country's Orwellian security agency. Gerd Wiesler is committed to the motto "Shield and Sword of the Party" and takes on the assignment of spying on a major playwright, Georg Dreyman and his girlfriend Christa-Maria. Over time however, Wiesler grows increasingly uncertain of his allegiance to the state when he becomes emotionally invested in the lives of those under surveillance.<br />
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I won't delve into the history too extensively, but East Germany engaged in arguably the most extensive monitoring of its own citizenry and unsurprisingly many view the Stasi today as a criminal organization and advocate the imprisonment of former agents. I'm not here to provide an extensive judgment of the group's legacy, and instead simply acknowledge that countless people were victimized. Director Florian Hencklel von Donnersmarck, who was born in the West approaches this fact with the utmost sensitivity and honesty knowing that a script like this would hit close to home. Making a film about a history so recent poses an immense ethical dilemma and the filmmakers have approach it with grace.<br />
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The film deals with numerous subjects and themes simultaneously. What stood out to me the most was the question of how art can thrive under a repressive system of censorship, and what that means for those that choose to defy those in power. This then leads to a few other questions. Does absolute power corrupt in what seems like a noble pursuit? And what chance is there for those involved to redeem themselves and prove their inherently good nature? Though all of this is mostly communicated through all of its characters the real praise is earned by the late Ulrich Mühe. His transformation from a cold, near-robotic instrument of the secret police to a servant of true justice at his own expense. Often it's the unsung heroes that make stories compelling, and this only makes me more curious about real life examples.<br />
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<i>The Lives of Others </i>is one of the best movies to deal with the subject of communism and the memory of the former Eastern bloc. It's worthwhile stating that not every experience of East Germany was the same, but what we can accept is that political corruption, the state's paranoia and a disregard for privacy are all ugly things. Some describe this film as a political thriller, but I think it's more accurate to describe this as an historical drama that strives to show the common good in the bleakest circumstances.<br />
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<b>My Rating: 9/10</b>TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0tag:blogger.com,1999:blog-7312683428434565995.post-82418307381447227452017-03-31T19:42:00.001-07:002017-03-31T19:42:17.865-07:00Film Summary: February and March 2017When I returned from the United States in mid-February I committed myself to change and renewal. In many areas I think I've achieved considerably positive results: Applying a more diligent work ethic, eating healthier, exercising more regularly etc. Perhaps the biggest thing of all was committing myself to getting back to my true nature. I've felt somewhat distant from my film passions lately because of busy schedules, but I'm going back to revisit the movies that made me fall in love with the medium in the first place. I haven't rewatched so many movies in ages. But this post is just looking at the movies I saw for the first time over the last two months. I saw 21 in total and here's what I thought of them.<br />
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<b>Finding Dory
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When the forgetful fish Dory sets out on a journey to
find her parents she learns about both the value of family and her own unique
abilities. It would seem unlikely that this movie would live up to expectation,
but the sequel to ‘Finding Nemo’ pulls it off and for the record I might even
say it’s more worthwhile to think of it as Dory’s own movie. Pixar has
constructed a sequel that is funny, exciting and surprisingly heartfelt. What
was immediately most apparent to me was that the film is much less an externalised
tale of Dory’s separation from Marlin and Nemo, but rather her memory. Perhaps
it doesn’t draw from all of its predecessors themes, but it has its own methods
of drawing you in. For a family movie it has a mild psychological quality that
keeps it moving steadily. This technique is fascinating, but hardly compares to
the joy of simply seeing these great characters on a new adventure. ‘Finding
Dory’ doesn’t beat the 2003 original, but it’s a touching follow-up to a modern
animated classic.</div>
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<o:p></o:p></div>
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<b>House (1977) –
8.5/10<o:p></o:p></b></div>
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</div>
<div class="MsoNoSpacing" style="text-align: right;">
Oshare, a schoolgirl takes six of her friends to her
aunt’s house in the countryside unaware of a ghostly presence that’s looking to
destroy them. It might be easy to initially dismiss ‘House’ aka ‘Hausu’ for a
generic title and premise, but it’s unlike any other haunted house movie (or
for that matter any other movie in general) I’ve ever seen. The Criterion
Collection has labelled it both “a psychedelic ghost tale” and “an episode of
Scooby-Doo as directed by Mario Bava.” I can’t help but see it as an
experimental merging of cinematic techniques, popular culture and plain
insanity. While the first half of the film can be slow its gradual descent into
a surreal horror picture mark it out as a perfect case study of why some movies
become cult films. Its images sit on a line between beautiful and disturbing,
its sudden changes in tone between horrifying and playful are enjoyably bizarre
and its creative ambition is omnipresent in every scene. ‘House’ cannot be
described, but it really is a gripping, if unconventional experience.<o:p></o:p></div>
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<div class="MsoNoSpacing">
<b>Rebecca (1940) –
8/10<o:p></o:p></b></div>
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</div>
<div class="MsoNoSpacing">
A young but shy woman marries a wealthy aristocrat, but
finds she can’t escape the lasting memory of her new husband’s deceased former
wife, Rebecca. ‘Rebecca’ is the amazing Alfred Hitchcock’s first
American-sponsored project and the film that took home Best Picture of 1940.
Although it doesn’t feature an identical style of the Master of Suspense’s work
from the late 40s onwards, it evidenced that the filmmaker would remain a
Hollywood force for the remainder of his life. This film is much less a
thriller more a mystery with beautiful film-noir and gothic touches. From the
use of shadow, fog and extravagant sets, Hitchcock stirs up a great sense of
unease and applies it consistently. Like any other film in his catalogue,
characters are a driving force towards the realising our curiosities and in
this instance Joan Fontaine’s character’s growth from shy observation to full
understanding of the world around her. A great flick and only the beginning of
Hitchcock’s Hollywood achievements.<o:p></o:p></div>
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<div class="MsoNoSpacing" style="text-align: right;">
<b>The Blade (1995) –
7/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
The master of a sword factory abdicates and appoints his
least popular blacksmith, who instead seeks out the man that killed his father
in spite of the loss of his arm to bandits. From Hark Tsui, the Hong Kong
filmmaker famed for his ‘Once Upon A Time in China’ trilogy takes on the
ambitious project of remaking the Shaw Brothers’ and Chang Cheh’s martial arts
classic ‘One-Armed Swordsman.’ To be honest the film fell slightly below my
expectations for the very reasons it’s been praised. Ding-on’s story is one of
honor and its conflict with being crippled, but I found the film’s focus points
to be unusual. I loved the use of narration, but felt it was delivered by the
wrong character, and while its action is brilliantly choreographed I thought
that the accompanying cinematography was erratic to the point of detriment.
More often than not, I thought too much was dedicated to action and too little
to character, a balance where the original excelled.<o:p></o:p></div>
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<div class="MsoNoSpacing">
<b>Destroy All
Monsters (1968) – 7/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
Aliens invade Earth and release the kaiju contained on
the island imprisonment Monster Land and use them to force a takeover of the
planet, forcing humanity to respond for its survival. For some ‘Destroy All
Monsters’ is a fan favourite, but for me it’s a bit to uneven for me to
consider it such. At times it achieves as far as giant monster movies go, and
other times just proves to be dull. I think the core issue is that the wrong
movie was made when there was the potential for something brilliant. Its
ensemble of kaiju is a dream come true, but the very reason fans love these
movies is underused save for a wonderful finale to make room for a cast of
one-dimensional human characters and their respective stories. It warrants more
focus on its dramatic writing, though where it delivers is in its fantastic
monster brawl. That’s why Godzilla movies are so fun, and for what was
originally going to be the grand end of the franchise it needed more. ‘Destroy
All Monsters’ is mostly an okay feature with pockets of excellence.</div>
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<div class="MsoNoSpacing" style="text-align: right;">
<b>Days of Wine and
Roses (1962) – 8.5/10<o:p></o:p></b></div>
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</div>
<div class="MsoNoSpacing" style="text-align: right;">
An alcoholic progressively gets his new wife hooked on
booze to share what he believes is happiness with her, but finds that it also
might be what tears their marriage apart when he pursues sobriety. A few years
ago I fell in love with Billy Wilder’s 1945 film ‘The Lost Weekend’ for it
being an exceptional, close-to-home depiction of alcoholism and ‘Days of Wine
and Roses’ is arguably just as great for it hits all the boxes on the
anti-drinking movie checklist. I’ve yet to see any of director Blake Edwards’
Pink Panther movie, but this film really impressed me and is driving me to see
more of his work. ‘Days of Wine and Roses’ is as much a tale of committed
romance as it is a horror story on the degenerative effects of addiction. As
much credit as I’d love to give to Jack Lemmon and Lee Remick’s redemptive and
depressing performances, I think the movie’s greatest strength is in its tonal
shifts. Sometimes it’s upbeat, and then it suddenly takes on a sinister vibe
through dramatic changes in its visual techniques. Despite dealing with a tough
and relevant topic, I consider it to be as much as cautionary tale as it is a
source of hope for those in the same place as the Clay couple.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing">
<b>Bus Stop (1956) –
7/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
During a trip to Phoenix, a stubborn young cowboy from Montana
falls in love with a saloon singer, and aggressively pursues her even when she
pushes back his advances. ‘Bus Stop’ is an unusual Marilyn Monroe film given
that it isn’t a straight-up comedy or musical. It’s fascinating because there’s
little way I could imagine a movie like this being released today in the same
vein of melodrama. The film is just as much a tale about a young man’s
ignorance about what love is as it is a depressing tale about an aspiring
star’s victimisation by what could only be described as an obsessive stalking.
Monroe’s performance, while not one of her very best, delivers in being just
below enough her usual standard for us to doubt her character Cherie’s
strength. This in turn highlights the gross intolerability of Don Murray’s Bo.
Though this character is played in part humorously for his boisterousness and
stubborn attitude, I personally found him incredibly unlikable. The film
carries itself at a steady pace and its final act is where it really shows its
guns, but I personally disliked its happy ending which I found contradictory
with its other lessons.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing" style="text-align: right;">
<b>The Mirror (1975)
– 7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
A dying poet recalls his past, particularly his childhood
during WWII and the memories of his mother. ‘The Mirror’ is perhaps famed
Soviet director Andrei Tarkovsky’s most personal film given its
semi-autobiographic nature, but in too many ways it’s also a film specially
catered to the generation of Russians that can remember the Great Patriotic
War. This and the additional fact that it’s an art film and much of its drama
is hidden below the surface will no doubt make it hard to digest for some
audiences. Even I admit that I enjoyed it less than his following film
‘Stalker.’ However, it has many qualities that I think make it near-essential
for movie enthusiasts. The cinematography by George Reberg is stunningly
beautiful and takes advantage of practical effects and the wilderness, and
while an unconventional narrative structure is hard getting used to,
Tarkovsky’s various stylistic choices grip you just enough to pull you into its
trance-like effect. Not for everyone, but that’s the nature of many of Tarkovsky’s
works.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing" style="text-align: left;">
<b>Precious (2009) –
7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing" style="text-align: left;">
An illiterate and overweight teen girl from Harlem
pregnant with her second child enrols in an alternative school with the hopes
of improving her future and escaping her abusive home life. ‘Precious’ is the
last of 2009’s Best Picture nominees I had to see and potentially my least
favourite of the ten. I had concerns about Lee Daniels’ place as director and a
possible ethnocentric preachiness, but I largely found the film to be very
honest and not afraid to linger on some truly depressing notes. Where the film
triumphs is in its readiness to deal with the grim realities, particularly
those in the black community in the 1980s. Abuse and urban poverty as well as
the power of education are all strong themes, and are personified through a
talented cast. My biggest gripe is with some of Daniels’ stylistic choices
which are often over-the-top and unnecessary and often complicate a tale that
should be told in the most direct manner possible.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing" style="text-align: right;">
<b>The Cabinet of Dr.
Caligari (1920) – 8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
In the town of Holstenwall, the hypnotist Dr. Caligari
uses his somnambulist Cesare to commit a series of murders, drawing the
attention of a group of pursuers. One of the most notable silent features to
come out of Weimar-era Germany and one of the great landmarks in the horror
genre. It’s taken me far too long to see ‘Das Cabinet des Dr. Caligari’ but I’m
very glad I finally made the time for it. Aside from still being very creepy
almost a hundred years since its original release, it’s a wonderful piece both
visually and sonically that epitomises the creativity of many filmmakers in the
period of German expressionism. The film’s most striking feature is its twisted
visual style that makes use of unusual structures and warped landscapes and
drawings that in conjunction with its haunting musical score create
other-worldly qualities. Though its production elements are the most striking,
it’s fascinatingly symbolic of Germany’s WWI experience and the ineptitude of
the authorities. First and foremost, it’s a great horror film that has truly
stood the test of time.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing">
<b>13 Hours: The
Secret Soldiers of Benghazi (2016) – 7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
In the volatile environment of post-Gaddafi Libya, the
unofficial CIA base in Benghazi comes under attack by a horde of Islamist
militants while the security team tries to protect their allies and find a way
out of the situation. It seems unusual that Michael Bay, a director whose being
criticised for empty-headed blockbusters has reached a near-comedic status
would give us a film about a real world issue. This isn’t to say ’13 Hours: The
Secret Soldiers of Benghazi’ reaches its full potential, but it’s a remarkable
improvement over the director’s usual work. It’s restrained on its political
judgements and makes an effort to pay tribute to those involved. Sadly it does
suffer from an indulgence into the intensity of its action sequences and
substitutes character development with common war movie clichés. Some might say
it’s a mature work, but I think that only applies in comparison to what it
could have been. It has a realistic vibe that’s genuinely horrifying,
evidencing Bay did his homework for once and despite what I may feel I’ll give
credit where it’s due. Well done Michael.<o:p></o:p></div>
<div class="MsoNoSpacing">
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<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNoSpacing" style="text-align: right;">
<b>Blue Jasmine
(2013) – 8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
A New York socialite divorced from her wealthy husband
moves in with her sister in San Francisco, bringing with her haunting memories
of a privileged past and narcissistic behaviours that hurt those around her.
Woody Allen’s ‘Blue Jasmine’ is, on top of the wonder ‘Midnight in Paris’ proof
that the comedian and director is at a new high point in his career and his
filmography is ready to evolve with the times. While often called an uncredited
remake of ‘A Streetcar Named Desire’ I find this too belittling a comment and
prefer to see it as a partial tribute to the classic. Where ‘Blue Jasmine’
succeeds is all within the titular character. She’s both a complex echo of what
she once was, and a fascinating insight into mental illness. The film benefits
greatly from its structure, and both its flashbacks and scenes in the immediate
story sit comfortably on the line between the dramatic and the humorous. I
think both major enthusiasts looking for a fresh tale and casual viewers will
have something to like in ‘Blue Jasmine’ for its wonderful cast, visual style,
story structure and its plentiful doses of comedy and tragedy.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJtlePVIuEXGTrZS84FEcgsYSjmCHFFs7aUZwhdIvxMbarMXwVm8kH-_8gAJgzrPTfVWn9Q6PK_akFpLCCava7xSts62PrftjDPcjHivqYmrtZBaQVSC6FH735IYNAL_cseKEMdyGAOA/s1600/hunt_for_the_wilderpeople_ver5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJtlePVIuEXGTrZS84FEcgsYSjmCHFFs7aUZwhdIvxMbarMXwVm8kH-_8gAJgzrPTfVWn9Q6PK_akFpLCCava7xSts62PrftjDPcjHivqYmrtZBaQVSC6FH735IYNAL_cseKEMdyGAOA/s200/hunt_for_the_wilderpeople_ver5.jpg" width="139" /></a></div>
<div class="MsoNoSpacing">
<b>Hunt for the
Wilderpeople (2016) – 8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
After a rebellious kid and his nature-loving foster uncle
go missing in the New Zealand wilderness, a nationwide manhunt is ordered when
the authorities believe their disappearance is more sinister. A huge hit in
both its native New Zealand and abroad, ‘Hunt for the Wilderpeople’ is both
touching and very funny. With its humour being based largely on the absurdity
of the situation and the offbeat nature of its two leads one might be led to
believe that the movie is a mindless on-the-run film that throws its characters
into increasingly unbelievable scenarios. This element certainly rings true to
an extent, but the heart of the story is one based on abandonment anxieties and
family loyalty. Sam Neill is wonderful as expected, but I was equally impressed
by young Julian Dennison’s performance as Ricky that communicates just the
right level of childlike innocence and youthful ignorance. While its undertones
of freedom are prevalent it’s best to see this as a fantastical, sometimes-dark
father-son comedy.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcudBTH9FKZ4HKdBIenB-b4Fj9ZB4KTExdYkhzKnfPSMAdMEUaS7-bPmzXKVa7ZQ2hCj4Iphhf0cXM6YnQFNK6ZvnsPjW_EIkPvW5RliLWW-PUQfTlwg80071hoiZcgP3p-ScXLcpaHw/s1600/sea_of_love.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcudBTH9FKZ4HKdBIenB-b4Fj9ZB4KTExdYkhzKnfPSMAdMEUaS7-bPmzXKVa7ZQ2hCj4Iphhf0cXM6YnQFNK6ZvnsPjW_EIkPvW5RliLWW-PUQfTlwg80071hoiZcgP3p-ScXLcpaHw/s200/sea_of_love.jpg" width="132" /></a></div>
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<b>Sea of Love (1989)
– 8/10<o:p></o:p></b></div>
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</div>
<div class="MsoNoSpacing" style="text-align: right;">
A detective investigating a series of murders where the
killer finds victims through a newspaper dating section gets involved with a
woman who may or may not be the culprit. The 1980s marked a quiet time for Al
Pacino, where he only starred in 5 films but there’s no doubt that every time
he brings in the best performance imaginable. This continues to prove true with
‘Sea of Love,’ a film that I’ve known about for years, but just never got
around to seeing. While on one side it’s little more than a run-of-the-mill
murder mystery, the other end is a great romantic thriller full of subtlety and
one that leaves you lingering with questions. Al Pacino’s performance
communicates the loneliness and uncertainties of Det. Frank Keller wonderfully,
but reveals more layers through wonderful chemistry with Ellen Barkin and John
Goodman. It’s a film that keeps you guessing and while not always the most
consistently energetic, it is full of brilliant surprises and makes for a solid
release that doesn’t fit into one lone genre.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKhqLfdg6RV5ISdgItypeAtx7KjcjiFzY4kAd5eOcbRXGZkTJFoaXgieKKCQIW2fqblQLJ7DtgU3Nux561DRHH3PZGhVCeBfoILuspwTvMFQQAAn5sWMnZl3Z4y8fFqi78L7uKKak0IA/s1600/xmen_apocalypse_ver18.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKhqLfdg6RV5ISdgItypeAtx7KjcjiFzY4kAd5eOcbRXGZkTJFoaXgieKKCQIW2fqblQLJ7DtgU3Nux561DRHH3PZGhVCeBfoILuspwTvMFQQAAn5sWMnZl3Z4y8fFqi78L7uKKak0IA/s200/xmen_apocalypse_ver18.jpg" width="135" /></a></div>
<div class="MsoNoSpacing">
<b>X-Men: Apocalypse
(2016) – 7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
Thousands of years after his original appearance, the
first mutant Apocalypse re-emerges in 1983, recruits a small group of powerful
followers to achieve a worldwide cleansing which forces the X-Men, both young
and old to respond. Following from the wonderful ‘X-Men: Days of Future Past’
is what really should have been the most grand film in this entire series, but
sadly it falls short in too many areas. I can’t pin the reason why something
with such potential came out so flawed to one factor alone, but writing is a
big issue. At times it’s a great service to many of its characters, providing
engaging origin stories for some and growth for others. Fassbender’s Magneto,
McAvoy’s Xavier and Lawrence’s Mystique are as fantastic ever. However, Oscar
Isaac’s Apocalypse is a one-dimensional goof and hardly threatening as a
villain, and coupled with some out-of-place humour really distorts the
established sense of stakes. It’s a film with strong themes, but serves its
action before anything else and this makes ‘X-Men: Apocalypse’ enjoyable, but a
missed opportunity.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQtVn-A3z0ZXx8axfsN5Sf3e_rKE519LO7SDIWlVdJ6zq9d9rx-65wuDWmntTNC6gQIYG8uRKacBmhKIpTyczS37FjZeVZyPPbmI1nw9T_zWUad8fvt4HjcOqTcJ7wQK93LWE30SOLg/s1600/The+Tin+Drum.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQtVn-A3z0ZXx8axfsN5Sf3e_rKE519LO7SDIWlVdJ6zq9d9rx-65wuDWmntTNC6gQIYG8uRKacBmhKIpTyczS37FjZeVZyPPbmI1nw9T_zWUad8fvt4HjcOqTcJ7wQK93LWE30SOLg/s200/The+Tin+Drum.jpeg" width="143" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<b>The Tin Drum
(1979) – 7.5/10<o:p></o:p></b></div>
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</div>
<div class="MsoNoSpacing" style="text-align: right;">
After deciding not to grow up and becoming attached to a
tin drum to protest the normality of his family life, a young boy sees the rise
and fall of the Nazi regime. The Winner for Best Foreign Language Film of 1979,
‘The Tin Drum’ is a most unusual way of telling a story that has become
familiar throughout cinema: the Adolf Hitler regime as seen through the eyes of
the common citizen. I found it quite daring that a West German film would
openly examine what could only have been a deeply taboo topic only 30 years
after the end of WWII. It’s far from my favourite movie of this kind, but some
aspects are truly admirable. Young David Bennent’s performance as Oskar is
among some of the best I’ve ever seen from a child actor, and in the most
quirky way it often provides a childlike view of the Nazis without obscuring
the harsh realities either. What I took home most of all is one important truth
and that’s that life continued as normal for many people and that façade of
normality and the passiveness of the German people is partially to blame for
everything that happened after 1933.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0tuly-jFNoLKQ8SRsp3qpFhtAryHXJA8iLyyUhYiYcoSZBaHHTtmwh-J7w9P7sFO6be3TB0C8sGKpeYqi4fp9oNMHmh3K9ob3vUbur6K9G8NANygonlzZ5zVAdpomnYRe2wtzLn4mSw/s1600/unbroken_ver4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0tuly-jFNoLKQ8SRsp3qpFhtAryHXJA8iLyyUhYiYcoSZBaHHTtmwh-J7w9P7sFO6be3TB0C8sGKpeYqi4fp9oNMHmh3K9ob3vUbur6K9G8NANygonlzZ5zVAdpomnYRe2wtzLn4mSw/s200/unbroken_ver4.jpg" width="134" /></a></div>
<div class="MsoNoSpacing">
<b>Unbroken (2014) –
8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
During his wartime service, Olympian Louis Zamperini
survives a near-fatal plane crash, spends weeks on a raft and is then sent to a
prisoner-of-war camp where he’s subjected to inhumane treatment by the
Japanese. The Second World War carries with it innumerable tales of individuals
that are worthy of a cinematic treatment, and Zamperini’s is but one of these.
It’s a tale of the human spirit, the endurance of faith and the ease by which
ill-treatment occurs in a wartime context. Although controversy centres around
the extent of the film’s truth and its depiction of the Japanese I think it
tells reveals an important fact that’s universally applicable. The ‘othering’
of people and nationalism are precursors to human rights abuses as was the case
in Japan’s war crimes. Equally as important, it’s a triumph of character with
its showcasing the commoner surviving against the odds is aided by a crisp
visual style and a powerful performance by Jack O’Connell. Director Angelina
Jolie has done well with the Coen brothers’ script.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ9aZaCMTPXmFC0PUVavHEHYiqWJF9CZ2W-Fx8oBG89lwvY6BVroAOQPCGYikr8nubK7unsDnz8EUhwmeqXdPIhN1oM-RuLnsoEKqVGopjPyTltHjNHPtrjst42v0wznyNeBRuzUCIEQ/s1600/Frankenstein+Must+Be+Destroyed.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ9aZaCMTPXmFC0PUVavHEHYiqWJF9CZ2W-Fx8oBG89lwvY6BVroAOQPCGYikr8nubK7unsDnz8EUhwmeqXdPIhN1oM-RuLnsoEKqVGopjPyTltHjNHPtrjst42v0wznyNeBRuzUCIEQ/s200/Frankenstein+Must+Be+Destroyed.jpg" width="133" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<b>Frankenstein Must
Be Destroyed (1969) – 7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
Baron Frankenstein takes a young doctor and his fiancée
hostage to conduct a new experiment, the transplanting of a mentally ill
person’s brain into a new body. The fifth film in the Hammer Frankenstein
series reinforces the fact that these movies are consistently chilling and
provide the sense that this version of Dr Frankenstein’s ventures are endless. Admittedly
this sequel doesn’t do much that’s new and comparatively seems tamer in its
subject matter compared to more daring predecessors. What it does address
however is one of the great aspirations of medical and cognitive science: the
idea of transferring consciousness. While depicted as an exploit of the
horrific, it’s one of the few instances that I found Baron Frankenstein (played
brilliantly as always by Cushing) as a sympathetic character. Not the best, but
not the weakest either.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6raYs5l5mpFTzcEKk4QT33id36k-THkO3PlkhEbI9VBmTEYzOBOjH5BzgvGmqrycaJIFGq7ukBA4FZPrSiGMQtdPIVDYbhN5BIYfTcSHqYojlDX4ndtPxEeTFX2dR2Qc40pi8xeMJEg/s1600/rubber_ver2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6raYs5l5mpFTzcEKk4QT33id36k-THkO3PlkhEbI9VBmTEYzOBOjH5BzgvGmqrycaJIFGq7ukBA4FZPrSiGMQtdPIVDYbhN5BIYfTcSHqYojlDX4ndtPxEeTFX2dR2Qc40pi8xeMJEg/s200/rubber_ver2.jpg" width="134" /></a></div>
<div class="MsoNoSpacing">
<b>Rubber (2010) –
6.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
While a group of spectators watch the “film” from a
distance, a tire named Robert comes to life, discovers it has powerful
psychokinetic powers and then uses them to wreak destruction upon humanity. The
English-language French production in premise sounds like a B-grade cult film
and most of the time gets most of the expected appeal out of its premise. Sadly
‘Rubber’ doesn’t reach its potential as a horror movie due to writer-director
Quentin Dupieux’s desire to be artsy in his storytelling in a film that
seriously does not warrant it. The result is something that’s greatly amusing
in some ways, but irritatingly pretentious in others. The performances are
generally quite poor, but the real fun comes from over-the-top gore effects and
the sense of wonder stemming from its self-admitted desire to exist for “no
reason.” Where ‘Rubber’ fails is its approach of revealing story through
‘spectators’ and its fourth wall breaks. It’s an instance of taking the desire
to be unique way too far at the expense of the silliness that serves it best.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNoAjm3jomRU4DsLST4ja1SeOB1jcQ4Emp4-VSHRRc9VJkYMjAJCNQrCJqLzs6MNp-LN5DawjYRHYEB6vZD5OB5VplWXTJsElXC949aOFUFbMlrfFQ0pEuVfZxxtH6meyhWHx-6_EFDw/s1600/Lifeboat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNoAjm3jomRU4DsLST4ja1SeOB1jcQ4Emp4-VSHRRc9VJkYMjAJCNQrCJqLzs6MNp-LN5DawjYRHYEB6vZD5OB5VplWXTJsElXC949aOFUFbMlrfFQ0pEuVfZxxtH6meyhWHx-6_EFDw/s200/Lifeboat.jpg" width="128" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<b>Lifeboat (1944) –
8/10<o:p></o:p></b></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing" style="text-align: right;">
After a ship is torpedoed and sunk the survivors find
themselves on a lifeboat with a German seaman from the U-Boat that attacked.
Among Alfred Hitchcock’s earlier works before he would become known as the
Master of Suspense a few years later, ‘Lifeboat’ is a gripping survival story
specific to the WWII period. The question of who one can trust even in the most
desperate hour is fascinatingly as much of a drive to the film’s drama as is
the expectancy of these characters’ survival. Regardless of the setting I feel
that it provides a more universal observation that we’re all human and benefit
from one another’s cooperation. Hitchcock communicates a sense of isolation by
limiting the use of music to convey distance from civilisation, but more
effectively explores this distance through the behaviour of its different
characters, all of whom perform wonderfully. Although it’s no ‘Vertigo,’ I
don’t see ‘Lifeboat’ disappointing admirers of the great Alfred Hitchcock.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGkABdY9lOTMFtE7llfKJp7R-s3kgSiUQRn0fL-JbhkPLQgLDXrNy6BsO733RgaEep3CXqka6fuhTCDOs-diYx5YRGyYcBH6c_tSv7hUqx7huV74Exy6oy0D0CYua0jlOgrlp90C70bw/s1600/schlock_poster_01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGkABdY9lOTMFtE7llfKJp7R-s3kgSiUQRn0fL-JbhkPLQgLDXrNy6BsO733RgaEep3CXqka6fuhTCDOs-diYx5YRGyYcBH6c_tSv7hUqx7huV74Exy6oy0D0CYua0jlOgrlp90C70bw/s200/schlock_poster_01.jpg" width="128" /></a></div>
<div class="MsoNoSpacing">
<b>Schlock (1973) –
7.5/10<o:p></o:p></b></div>
<div class="MsoNoSpacing" style="text-align: right;">
</div>
<div class="MsoNoSpacing">
A small town is terrorized by a series of murders
committed by an ape-like creature, who turns out to be a missing link in the
evolutionary chain and falls in love with a blind girl. The directorial debut
of John Landis has for many years been an incredibly rare release due to low
DVD production, but while I wouldn’t say it’s objectively a good film it’s
something I would recommend out of the sheer joy it brings. ‘Schlock’ is a
homage B-grade monster movies of the past and the origin of Landis’ ‘See You
Next Wednesday’ Easter egg. There’s a real sense of fun throughout the
production coupled with the feeling that no rules are applied. People behave in
absurd ways, Schlock adopts both a villainous persona and a place of your pity
and random gags come out of nowhere. It’s evident the making of this film was
laid back, but even with that in mind Landis did fine in his first role as
director.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
<b><u>My Top 10 Movies for February and March 2017</u></b></div>
<div class="MsoNoSpacing">
1. Days of Wine and Roses</div>
<div class="MsoNoSpacing">
2. House</div>
<div class="MsoNoSpacing">
3. Rebecca</div>
<div class="MsoNoSpacing">
4. Hunt for the Wilderpeople</div>
<div class="MsoNoSpacing">
5. The Cabinet of Dr. Caligari</div>
<div class="MsoNoSpacing">
6. Unbroken</div>
<div class="MsoNoSpacing">
7. Blue Jasmine</div>
<div class="MsoNoSpacing">
8. Sea of Love</div>
<div class="MsoNoSpacing">
9. Lifeboat</div>
<div class="MsoNoSpacing">
10. Finding Dory</div>
TheCinematicJourneyhttp://www.blogger.com/profile/16200283496570771879noreply@blogger.com0