Osiris-11 Reviews

Star Wars: Episode II - Attack of the Clones (2002)

Exactly what I wanted to see.

[9/10 · 22 May 2002]

When the credits rolled the first time I saw The Phantom Menace, my first thought was it would be three long years before I got to see the next installment. Now that installment is here, and it is everything I was waiting for. I thoroughly enjoyed this movie from beginning to end. The acting was a wonderful improvement over its predecessor, and Hayden Christensen stole the show. I was captivated by his portrayal of a man teetering on the edge. But all the characters, not just Anakin, seemed more real this time around. The story is much more emotionally charged in Attack of the Clones, and the film itself is an action movie, love story, whodunnit mystery and a story of deep personal conflict all rolled into one. The special effects are fantastic, it being a Lucas joint and all, but what makes this film such a marked improvement over The Phantom Menace is that the storyline, not the CGI, really drives the film. This movie offers something for everyone of all ages and is well worth the price admission (several times, at that). Its only drawback is that now I have to wait ANOTHER three long years to find out how the whole story comes to a close.

Cast Away (2000)

Amazing Depth

[10/10 · 4 April 2001]

If Russell Crow weren't so darn good in Gladiator Tom Hanks would be a three time Academy Award winner. The performance he tendered in Cast Away was honestly better than the two that won him Oscars, especially when one considers his co-star for the majority of the film was a piece of sporting equipment. This film amazed me from beginning to end. For a couple of hours I because Chuck Noland. What more could I ask from a movie? I liked this film more than most of my friends, and I can certainly understand why it just wouldn't click with some people. Cast Away is deeply psychological and personal, and it makes the viewer think as much about his or her own life as about the story line. It is ultimately a story of hope and perseverance, not of one man but of the human race. Now that it has left theaters I suggest watching this movie alone and free from distractions. I hope it speaks to you the way it spoke to me.

Crouching Tiger, Hidden Dragon (2000)

Intriguing Story for all Times and Cultures

[10/10 · 3 April 2001]

My ultimate measure of quality in a film is how understandable the psychology of the characters is. Ambiguously evil villains and infallible heroes make a story line boring at best and completely derail it at worst. Every character in Crouching Tiger, Hidden Dragon is thoroughly understandable and multi-dimensional, complete with desires and flaws. These characters are real people in complex situations and, although the setting and much of the action is highly fantastic, we can all relate to them. The story of Crouching Tiger, Hidden Dragon reaches across time and culture to take the viewer on deeply philosophical and spiritual journey. I was highly impressed with both the acting and the action of the film, truly a masterful accomplishment by director Ang Lee. I was also impressed on how egalitarian the characters seemed, with as strong a set of female characters as has been found in cinema in a long time. Everything about this movie is beautiful, wonderfully directed and choreographed so that the finished product is honestly one of the best films I have ever seen. I would recommend it to anyone.

Fear and Loathing in Las Vegas (1998)

An Outsider Looking In

[10/10 · 3 April 2001]

I've never been a member of the drug culture. I've frequently been intrigued by the philosophical movements it evoked in the 1960s, but my own personal experiences with drugs have been quite limited. Still I find Fear and Loathing in Las Vegas to be irresistible. It is certainly askew from the norm, and true, it has no plot in the traditional sense. Some have also called this movie pointless, but with this I must disagree. I would suspect that most people who dismiss this movie also dismiss the drug culture in general, and I fear that this is a grievous mistake not only in cinema but in life. I would like to think that I understand Fear and Loathing, but I do not. It would be folly to think that I did, because I am outside the drug culture. I haven't felt the euphoria nor have I experienced the terror necessary to really see things in the same light as Hunter S. Thompson. It has also been said that this film glorifies or attempts to excuse recreational drug use. The movie itself is a testament to drug life, with all its hills and numerous valleys, but it always shows the consequences that follow the characters' actions. To quote Thompson himself, "No sympathy for the Devil. Buy the ticket, take the ride." I recommend this film to anyone who can follow that advice.

American Beauty (1999)

Thank you.

[10/10 · 15 May 2000]

This is it. This is what cinema can be in its most beautiful and shining moments. This is the goal, the apex of all film: to weave a story so real you become a character within it. Forget all the blockbusters, the epics, the cinematic tours de force that have come before. This film is a glimpse at what can be when everything about a movie is right. It is beautiful and heartbreaking and terrifying. This is the world we all live in captured in a little black plastic box with videotape spooled inside it. I have never seen a movie like this before. I will never see a movie like this again. It is one of the most beautiful stories I have been witness to. I don't know if this movie will change my life, but that I must admit it might signifies that this movie has touched me as no other. Every performance is perfect, every character is unerringly understandable, and every minute of it passes too quickly. See this movie. If you do not love it, I fear you might have lost the idea of what cinema is really all about.

Bringing Out the Dead (1999)

The work of a master.

[9/10 · 8 November 1999]

With the recent death of Kubrick, Scorsese is now one of the last living masters of film. He can say more with camera angle and lighting than most directors can say at all. Bringing Out the Dead again justifies his title of master by bringing the viewer along on a long slow ride into hell and back. Scorsese is, as has become customary, blessed with a cast of amazing talent including John Goodman, Ving Rhames, Tom Sizemore, and the first on-screen pairing of husband/wife pair Nicholas Cage and Patricia Arquette. Scorsese pulls no punches in the tale of a NYC paramedic in a slump, unable to save a single life. The story seemingly deals with a million different sub-plots, including euthanasia, drug use, and the stress induced by the "save them at any cost" mentality of the Hippocratic Oath. Nick Cage tenders an Oscar-worthy performance in his roll of Frank Pierce, and Patricia Arquette is likewise amazing. The only complaint I can muster is that in certain places the movie seems to drag uncomfortably. Even this drag, however, is obviously Scorsese's intention, allowing the viewer to identify that much more with his subject-matter.

The Doom Generation (1995)

God help us all.

[5/10 · 8 November 1999]

This film is perhaps the most insane romp I've ever seen on videotape. I honestly do not know whether it is art or crap, and I think I never will. Araki certainly has something to say about the all-encompassing sense of futility that is present just below the bubble-gum surface of modern pop culture, and whatever it is he says is scathingly negative and brutally honest, but I must ask how many different possible interpretations are there for a band of neo-nazis wearing only socks? I feel relatively certain that the use of castration is in some way a reference to the modern teenage and young adult male's sense of increasing powerlessness in society due to the upsurge of special interest and activist groups, and the recurrence of the Biblical sign of the Beast every time any of the characters take part in capitalist consumerism is fairly straightforward, but the majority of this movie gives me a headache. And I really, really like it.

Very Bad Things (1998)

Tarantino on Crack

[8/10 · 26 September 1999]

I have never in my life seen a movie like this. Most of my friends went out of their way to tell me how horrible the experience of watching this movie was, and I will agree that there are several deeply disturbing parts. However, to call this movie garbage as I find is prevalent is far from the truth. Certainly Berg uses the somewhat unartistic institution of shock value to develop the story, but in light of the highly meaningful and poignant Natural Born Killers and Pulp Fiction I hardly think that is detestable. Above all I felt that this story ultimately shows the folly that humanity brings upon itself when a man (or woman) begins to entertain immoral notions. The tale begins with a murder and from there the characters all begin the slow descent into depravity and insanity. I would have no problems suggesting this movie to a friend I knew had the intestinal fortitude to handle some of the more graphic scenes. Certainly this isn't a movie you want to show elementary school children to instill the notion that dishonesty, crime, and immorality lead to downfall. It certainly did instill that in me, though. This film was not met with critical success, mostly because it was so far beyond the norm. It certainly seems to have its share of critics in this forum however. To any who would berate this film as a useless work of trash I would certainly suggest you never read a Greek tragedy. I think anyone can find parallels between the two.

Finding Graceland (1998)

Slow movie building toward a solid end.

[6/10 · 26 September 1999]

I was completely bored for the first hour of this movie. To be honest, Winkler does very little in the beginning to make the story interesting. The initial interactions between Byron and Elvis seemed one dimensional and uninteresting, and absolutely nothing made Byron Gruman endearing as a character Until well past the first hour. Keitel was, of course, good in his role but Schaech was stiff and the direction was actually quite bad in places. Bridget Fonda plays a somewhat endearing Marilyn Monroe impersonator, only annoying while her character is "in character." Truth be told I was tempted to turn the movie off halfway through it and go on to one of the other titles I had rented for the weekend. I am glad I did not. The movie is entertaining for the last 45 minutes and toward the end Schaech finally reaches down deep to pull off a rather heartwarming performance. This is a multi-faceted story of redemption, with every character eventually finding something they had needed all along. Finding Graceland is most definitely worth the price of a video rental so long as you can stand a long and often boring buildup. In the end the story aptly uses the growing mythology of The King to tell a story that is worth the time it takes to hear it.

Dream for an Insomniac (1996)

Obviously a first attempt

[5/10 · 4 June 1999]

Dream for an Insomniac is not a bad movie, nor is it a particularly good one. Writer/Director DeBartolo in her first attempt at doing either produces a film that has bright moments, a few good ideas, very little meaningful dialogue, and some moderately entertaining scenes.

The black-and-white to color transition when Frankie first meets David Schrader is perhaps the most metaphorical and artistic achievement this movie makes. It is unfortunate that it is neither touching as a metaphor nor very artistic.

The majority of the film centers around the interplay between Frankie and David. The interaction between the characters is labored and unbelievable, the dialogue being little more than witty banter and archaic quotes swapped back and forth. If DeBartolo had any intentions of the audience empathizing with the characters she failed to write them in such a way to elicit such empathy. Frankie remains reminiscent of a love-struck schoolgirl throughout the film, a glutton for punishment, while David Schrader feels two-faced, reluctant to leave his girlfriend but quite friendly and flirtatious with Frankie, who is quite obviously in love with him. If these characters existed in the real world, they would both seem too neurotic, emotionally unstable, needy, and self-centered to spend time getting to know. And yet in spite of this, DeBartolo manages to put together a film that is not terrible.

Aniston's character, an aspiring actress who speaks in false accents during conversations to become believable in them, provides a solid supporting character that is much needed throughout the film. Juice, the slacker musician, finds his way on screen just about exactly when some comic relief is due. Some of the conversations, especially the one concerning the Holy Trinity of rock and roll, seem similar to something that could actually be heard in the real world, or at least the world of Generation X. And the subplot of Rob, the coffee-shop waiter reluctant to tell his father that he is a practicing homosexual, is actually quite endearing and entertaining.

Dream for an Insomniac would have been a much better film had DeBartolo stepped down the massive intellectual undertones running rampant in the dialogue, given both main characters a healthy dose of Prozac, and focused on the basic but meaningful theme of romance in the 90s instead of showing off her obviously impressive knowledge of memorable quotes through her characters. If anything less than extraordinary is a waste of your time, then so is Dream for an Insomniac. If, however, you are willing to settle for a decent first attempt at a movie by a newcomer to writing and directing, lay down a couple of bucks for this film at your local video store.

Star Wars: Episode I - The Phantom Menace (1999)

Better than "Jedi."

[8/10 · 21 May 1999]

After a wait of sixteen years Lucas has delivered the beginning installment of what has become the American epic saga. The first thing I have to say is that the movie is not the best episode of the series, nor is it the worst. As far as the existing trilogy goes, this one rates above Return of the Jedi but falls short of The Empire Strikes Back. I would personally place it neck-and-neck with A New Hope. However, since in 1977 A New Hope completely revolutionized the science-fiction genre The Phantom Menace will never be remembered in as high esteem. The movie itself consists almost completely of foreshadowing to both the existing trilogy and what Lucas plans to do in episodes 2 and 3. As such, this movie has fallen prey to a slew of bad press. The people responsible for giving such negative media to the film have made a grievous error in judgement. This movie should not be taken on its own as a film, but must be taken in context with its surrounding story line. This movie was the action-packed opening chapter of the saga, much as A New Hope was in 1977. Unfortunately such expectation has been heaped upon Menace that it could not possibly have delivered all that was desired. By the release of the third episode, Menace will be respected in its rightful place of the opening sentences of the story, taking the first few steps toward a complex plot spanning a total of six movies. If the critics today are berating the story as they are simply because the movie does not deliver all the answers, imagine how these same critics would have rated Empire. Then again, critics were never very adept at noticing or appreciating such complexities.

Saving Private Ryan (1998)

An exceptional war movie.

[8/10 · 9 May 1999]

This film is an exceptionally well done war movie. It is perhaps the greatest of all time, although in my mind it is waging its own war with Apocalypse Now for that prestigious title. It pulls no punches in its representation of the horrors of war. I am certain that most movie aficionados have heard the stories of veteran flashbacks and emotional breakdowns caused by the film. It is certainly the best portrayal of war in this decade. It has even bested Braveheart's violence, a feat thought impossible three years ago. The scene in which Private Mellish is killed by the German soldier chills me to this day. It is indeed a fantastic war movie. As a movie in general it is not quite as great. It still is a wonderful tale with moving emotional content but I feel certain it was not robbed at the Academy Awards. The characters seemed quite one-dimensional to me and the plot left something to be desired. In the end this film did not approach the quality of Tom Hanks' two Oscar winning performances. And to risk missing the forest for the trees, I must say that the opening scenes of the storming of the beaches at Normandy almost made me feel sick. This was not from the excessive gore, and that fact does trouble me somewhat, but instead from the camera work. I understand that in this age of "ER" popularity the "messy camera" look has become incredibly popular. In spite of this I think the excessive motion of the camera during this scene detracted from the film. I found it difficult to concentrate throughout. Personally I thought the camera work during the battles in Braveheart were much more effective in conveying the mood of a battlefield.

Dead Man on Campus (1998)

If it disappoints, it's your own fault.

[6/10 · 9 May 1999]

This movie wasn't meant to be great. It's a good thing too, since it doesn't even come close. It is, however, an amusing comedy and a pretty accurate if farcical portrayal of freshman year at college. It relies on the old urban legend concerning roommate suicide and the benefits that can be reaped from it, which technically classifies it as a dark comedy I suppose. It still strays from the macabre and sticks with the slapstick. Mark-Paul Gosselaar portrayal of Scott Cooper has a "Zack Morris on crystal meth" feel to it. The movie is definitely worth the cost of rental and if you can remember your freshman year you'll enjoy yourself. For your own good don't allow yourself to be the person who goes into such a movie expecting cinematic brilliance. Go in wanting to laugh. You should succeed in that.

Braveheart (1995)

An achievement in storytelling.

[10/10 · 9 May 1999]

This film is perhaps one of the most entertaining stories that Hollywood has produced to date. It is of course completely historically inaccurate, though it is certainly not the only, nor the most recent, film to obscure historical truths and still be impressively well done. Gibson does nothing new with this movie, as it is a classic blend of adventure, romance, morality, and comic relief. What Gibson does do, however, is weave these aspects together with greater skill than most. To compare this story to history is futile, as is comparing the Bard's tale of Julius Caesar to the actual occurrences in ancient Rome. While based on historical events the purpose of this and any movie is to entertain. Education, while a good and noble purpose, is not nor should it be the primary goal of the cinema. While Braveheart will not educate as to the events in medieval Scotland, it will indeed tell a tale that has been told the world over in a million variations. Some call Braveheart laughable and trite and in some respects these critics are not wrong. My counter to this argument is that all epics, from The Odyssey to Beowulf to the Lord of the Rings, are by nature laughable and trite. The story of William Wallace as presented by Braveheart is not the story of the man who lived in Scotland centuries ago but the story of every epic hero. As an epic, the story must invariably deal with and contain archetypes so broadly ranging that they must be described as laughable and trite. That Braveheart is a very basic story, which I will admit, by no means qualifies it as a bad story. Instead it is an epic story, and a very good one at that.

Pulp Fiction (1994)

Tarantino's Best.

[10/10 · 9 May 1999]

To lend myself to the cliche, Tarantino has revolutionized cinema. Some praise him, some berate him, some despise him, and quite a few lose sight of what he has brought into the mainstream. In this, his best work to date, Tarantino succeeds in telling one of the most realistic tales ever to find its way into theaters. It is this realism that makes Tarantino so impressive a director. While epics like Braveheart and Titanic concern themselves with the most noble points of human existence and morbid thrillers such as Se7en focus on the lowest depths of depravity, Pulp Fiction instead stays firmly in the middle ground of daily experience. The film has been criticized as glorifying violence and drug use. Instead I feel this movie simply portrays such facets of society, and portrays them very similarly to the "real world." Pulp Fiction, along with Tarantino's other films, is so captivating because the characters are so very human, more than a collection of catch phrases and a cool exterior. Tarantino offsets this stark realism with offset chronology, drawing the audience in even further by making them fit the pieces of the plot together in their minds. Granted, Tarantino was not the first to use the directorial techniques that make Pulp Fiction a fantastic story. He did not use them first, but he has used them best. He is so good at what he does that Pulp Fiction is a great movie despite his own acting. That alone is worthy of an Oscar.

The Princess Bride (1987)

The most dramatic use of the word "bitch" ever.

[10/10 · 9 May 1999]

This movie is a contradiction in terms. By all rationality it should not be as popular as it is. It is basically one cliche after another played out on some of the most obvious soundstages ever seen. Somehow Rob Reiner has made one of the most popular and endearing fables of all time. I still have not ruled out a pact with Satan. Somehow though, it all works brilliantly. Cary Elwes' dry humor, Mandy Patinkin's delectable portrayal of a Spaniard, Andre the Giant's paradoxical boyish charm, and Wallace Shawn's immortal use of the word "inconceivable" have made this the fairytale of the latter half of the 20th century. As always Reiner relies on the innocence of childhood to win audiences as he plays out the plot within a plot of Peter Falk reading a young, sick Fred Savage a story in a moment of grandfatherly bonding. Throw in a beautiful damsel in distress, an evil prince, a vow of revenge, a miracle man, a senile king, the greatest sword fight in cinematic history, incredibly large rodents, an abbot with a speech impediment, a holocaust cloak and a wheelbarrow, and you've got a movie that no one except those who have forgotten how to believe in fairies could dislike. The fact that the dialogue is infection only adds to the addiction. Yes, this is a ten. Why? My God I wish I could figure that out.