Change Your Image
jakespick
Lists
An error has ocurred. Please try againReviews
Cloud Atlas (2012)
Confident and authentic
You remember that feeling you got the first time you saw 'The Empire Strikes Back?' That feeling that you were watching something bold, important and epic? That feeling will return with 'Cloud Atlas.'
Often times films can have trailers that supersede them. 'Cloud Atlas' seems to have such a trailer, but it turns out to be a film that is everything its trailer suggests it's only pretending to be. It's a film that is ostensibly imperfect in almost every way, but, at the same time, believes in itself to such an extent that it triumphs over the bullies. It's the weird, ugly one that everybody is secretly friends with and confides in. It's comfortable with who and what it is, and that shows. It speaks its mind without preaching its messages. To this end the film chooses, rather, to open up its heart to the audience and invite them along for the ride. It's out of shape, a bit awkward, and always audacious just for audacity's sake, and it embraces all of this. Probably the most secure movie to come out in years. I was thrilled, scared, tickled, touched, and, most of all, satisfied. Entertaining to its very core.
The various makeup/wardrobe gimmicks may distract some and, to that degree, bother others. Did they distract me? Not necessarily. Maybe at first. But I kinda went into this expecting it, thanks to all of the other reviews of the film circulating around the web that go to unnecessary lengths when complaining about 'who's playing who?' and 'what's that?' and 'that's HER?' Overall, you will notice the fake- Asians and the big, prosthetic noses, but you should not let that get in the way of one of the year's best theater experiences.
The Limey (1999)
Something to rattle the cages
'The guy who made the Ocean's remakes,' 'the guy who made Traffic,' & to whom am I referring? I'm referring to that guy, right there, though to me, he's the guy who made The Limey -- & made the Hell out of it, to be really, very exact. I'm givin' the 'ol Sod a nod. He deserves it, & a lot more I tell you. Though, the only thing truly certain is that this is irrelevant. Limey is kinda like that local, underground rock band that nobody but you knew about in High School. Maybe a few of your friends, nothing to concern yourself with - that is, of course, until they're picked up. No, they're no longer special. Thankfully, this happened to neither Soderbergh, nor any of his work, & whether or not that is a good thing you can decide for yourself. I hope to see more experiments in the future, though I doubt I will - it seems all great artists left on this planet are just about turning in their badges. It's all too melancholic. The Limey sends me on a ride, like anything as good as it that I've had the honor to witness, but in this case it's more like a sapid tidal wave of gratuitousness. Sometimes you feel overwhelmed, like you're going to drown, like you're circling the drain that sucks you through a brewing, bubbling crucible of '60s & '70s pop culture, popping with the froth of Steppenwolf, the Who, the Hollies, & the Byrds. & when you do drown you're greeted with Sarah Flick's crisp juxtapositions - such gorgeousness all the same. Electric, swag-laced dialogue, & tyrannical, bravura acting at every smooth, tasty turn.
There are a good number o' things I could call into question here - & endlessly I'd be waxin' peoples' cars, to quote P.T. - such as writing, music choice, Soderbergh's stroke of genius in using Poor Cow, etc. When I reach back into my memories, the majority of what I find is tainted with the more conventional - & thus, tired - use of not only music, but also editing. I'm met with the same tasteless, gray-haired groove masquerading in the guise of something hot off the press, & as such I'm also met with the same anger & subsequent depression that's soon to follow. & so for that reason, maybe solely - though not hopefully - I transform into a horny little school girl on the verge of pumping a glorious money shot when I run into something like Limey. Something as hidden or even trivial as this brings to question a film's own responsibility when it comes to what is commonly referred to as "originality." Originality for the sake of originality, or originality for the sake of art & entertainment? In Limey's case, it's for the sake of a balls-deep frolic through the merrymaking of an aesthetic circus.
One glaring thing that The Limey suffers from - like a lot of pictures riding alongside it - is the burden of a worn story. Very worn, in fact. I'll say this here now -- The Limey is as much about a vengeance tale as Apocalypse Now is about the Vietnam War. Ahem.
The Dark Knight (2008)
The Godfather of Superhero Movies
I had written a review of this upon its release but feel that I should write a renewed review, mostly because over time your reactions and opinions about films begin to change. Plus, when you leave The Dark Knight, having just seen for the first time, you get a kind of Christopher Nolan "high."
Watching this now, and experiencing it all over, time and time again, I can't help but think about future views of this film, and thoughts in retrospect. And when I think about what's to come, I think about how people will be saying, if criticized for making a poor Superhero film, "Well its not like I'm trying to make The Dark Knight here."
The reason, I think, this film will be kept in such high regard is not because of Heath Ledger (RIP), and not because of the action and whatnot, but because of the direction and the writing and the film's sheer audacity towards the medium. Sure, people will remember "Why So Serious?" and they'll remember the action and the fight sequences, and they'll remember this as Heath's last completed work, but the true standout areas of the film will be the brilliant, clever storyline, and the dark, foreboding atmosphere. They'll remember a film that wasn't afraid to take itself seriously.
While watching it now, I've always seen it (and the script) as being some form of sponge for the millions of ideas and concepts that Nolan(s) vomited out on here. There's no formula with The Dark Knight, and the moment I realized this (along with every one else in the theater) was when Rachel Dawes, the love interest in this film, was engulfed in flame inside of a warehouse rigged to blow. Nolan's genius really shows through here, and from his undeniable consistency so far in his career, we can all have faith that he won't let us down with whatever sequels he is planning with this franchise. We can trust that he'll make the right decisions. And if he decides to go through with the third film, which as I'm alive he will, than we all know that it will be far from disappointing in way, shape, or form.
Congratulations, Mr. Nolan, your hard work and your ingenuity has been greatly rewarded with the success of the greatest Superhero film to date, and possibly your greatest work, The Dark Knight.
WrestleMania XX (2004)
Wrestlemania XX, Madison Square Garden, anything can happen...
...but not much did.
This was barely an above average Wrestlemania, in my opinion, and pales greatly in comparison to both its preceding and succeeding Wrestlemanias (XIX and XXI). The opening matches were obvious card fillers, other than the surprisingly entertaining US Championship match. The Women's Title match was interesting, and the image of Molly Holly getting her head shaved will be forever remembered.
The main events were also interesting. The Guerrero vs. Angle match for the WWE Title was a bit under-hyped (for a good reason) and, surprising turn-out nonetheless, could've been saved for a later time. Not Wrestlemania XX. As much as I love Eddie and miss him, he wasn't really the best WWE champion I've seen. The Triple Threat Match was excellent, a great choice for the main event, and what I believe is this Wrestlemania's savior from being just mediocre.
The Goldberg vs. Lesnar match was simply horrifying. The last match for these two in the WWE seeing as how both wanted out quickly (Lesnar felt he could do better, and Bill just didn't care for the programming). However, the idea of these super-superstars colliding was one of the many "dream match" entries you'd find on all the blogs all across the internet. The two of them didn't seem to care much for the business anymore, and seemed bored going into the match, not caring about how much the fans thought of it. The only thing that saved this match was the always electrifying Stone Cold Steve Austin as guest referee.
Overall, Wrestlemania XX was probably the last great over-hyped Wrestlemania that the WWE is going to give us. Many people believe that Wrestlemania XXIV was over-hyped, I disagree, only the Big Show vs. Mayweather was over-hyped. Anyways, I'd have to say that the WWE is descending in quality and controversy week by week, and with these latest episodes of Raw that I've seen, Vince knows it.
Oh boy does he know it.
The 25th Anniversary of WrestleMania (2009)
What can I say?
What can I say about 2009's stinker that hasn't been said before? The 25th Anniversary of Wrestlemania was an insult to the wrestling world, and will go down with the likes of Mania IX as one of the all-time worst Manias. It was abysmal, truly. Of course, aside from the now famous Undertaker vs. Shawn Michaels match up.
The show started off with the usual matches, such as the Intercontinental Championship and the Money in the Bank Ladder Match. The IC title match was a joke in itself, less than 30 seconds long. The WWE has attempted to mimic last year's Hardcore Championship bout between Kane and Chavo, which was just as short, if not shorter. However, when Kane beat Chavo, it felt much more fresh and unexpected and worked much better then than it did here.
The Ladder Match, interesting as usual, always seems to be their get-out-of-jail-free card from Mania 21 on, using it as a way to make each Mania at least somewhat entertaining. But, Mr. McMahon, why is it that the most hyped-up and talked about Wrestlemanias are always the biggest failures in this business. Why is it that we have to celebrate the 25th Anniversary of Wrestlemania with a triple threat match between Edge, Big Show, and John Cena (one of the worst main events in history)? Answer me that. How hard is it, exactly, to come up with a decent Wrestlemania. I mean, at least put some effort into an event as big as this.
Anyway, let's move on to the rest of the show, starting with the much hyped Chris Jericho vs. WWE Legends match. This match, along with the rest of the matches, was a joke in itself. The match quickly boiled down to generic garbage that was not only boring, but depressing to watch - to realize that the WWE has resorted, simply, to the match cards of their events to make sales. This was an obvious failure of a match and of an event, one Vince must've seen coming.
Undertaker vs. Shawn Michaels. This one was for the ages, and will go down as, possibly, the greatest match of all-time for the Undertaker, and maybe even for the Show Stopper as well. It was quite the battle, and really helped me through the night, but you've heard enough about this glorious fight, so let's move on.
The Hardy vs. Hardy Extreme Rules match was actually quite entertaining, but not even high-flying violence could save this show. They both put on one hell of a show, one which I really enjoyed, but quickly faded away into the rest of the event, which include the two absolutely horrible main events.
XXV's main events included the triple threat match for the World Heavyweight Championship, as I stated before, and a one-on-one bout between Randy Orton and Triple H which actually wasn't that bad, but could've been saved for Backlash or even Summerslam, not the 25th Anniversary of Wrestlemania. The two obvious faces came out victorious (Triple H and Cena), something which was not the case at the previous year's show. They need to remember that, every once in a while, people don't like to see Cena walk away with every title and a hand-job. But, rather, see Cena lose for once, and what better place than the grandest stage of them all? Now the rest of the matches, or as I like to call them, "card fillers," were the usual garbage you'd expect. A tag team title match that nobody was excited about, and a Diva Battle Royale, which is always a bad sign seeing as how the Divas in today's WWE just can't pull off a good performance.
In conclusion, other than the Undertaker vs. Michaels match, nothing really stuck as special or even useful to the WWE or the event itself, and frankly I can't remember the event that match, and even had to look back at the Wrestlemania History section on WWE.com to see the matches in order to spark some sort of memory.
I do not recommend viewing this. You'll get more pleasure out of watching the highlights on YouTube.
WrestleMania XXIV (2008)
One of my all-time favorite Manias
Like Wrestlemania X-Seven and Wrestlemania 3, XXIV was of the more "classical" Wrestlemanias that I've ever seen. It brought back that feel, that "Mania Feel" that I hadn't experienced since X-Seven.
What really helped this event was the decisions behind the match card, and where the matches were placed. Ending the show with two upsets and an excellent one-on-one title match, that wasn't over-hyped, with the Undertaker was a brilliant decision. Another great choice was to start the show off with a fast paced, quick street fight, or as it is referred to here, a "Belfast Brawl." The show had something new to offer for each match, and had no "card fillers" as you would expect from seeing many Manias in the past. The problem with the WWE is that they over-hype Manias like 20 and 25 and try too hard to make them good, and they come out as stinkers. For some reason they feel the need to fill the show by having 12 matches, and every title defended. Nobody really cares about the Tag Team titles or the Women's Championship, they want to see matches like the Ladder Match and the three main events. They want to "feel" Wrestlemania, which certainly happened in the Flair vs. Michaels match, and the very emotional outcome. But most of all, they want to be surprised.
And boy did this show have some surprises, not to mention the wonderful choice of CM Punk winning the Money in the Bank Ladder Match. What everyone seems to be talking about when they think of XXIV is Orton's win in the Triple Threat. This was a brilliant move by the WWE, and I'm sure it was a last minute decision (note the poll that was taken early on in the show, I'm sure they based who won on the lowest percentage of people who voted for that person, which just happened to be Orton thankfully). The Triple Threat was great, I think, because it was so well set up - you had the two big comebacks over the past year (HHH and Cena) who were both potential Champs following Mania. But if there's two hyped comebacks in one match? Together? For the title? At Wrestlemania? How can you possibly make the best of it? You turn it into a triple threat match with the most unlikely winner on WWE, and there you go...
Now to The Biggest vs. The Best. I was pleasantly surprised at the excitement I had while watching this match, and watching Big Show's interaction with the crowd, which made it all the more entertaining. Big Show always seems to be the first in line for these kinds of odd-ball matches, like his Sumo Match at 21 (which wasn't as exciting, but still interesting). Mayweather walked away with the win, by knock out, which was partly surprising and partly expected. A great match nonetheless.
Finally, we arrive at the main event: World Heavyweight Championship. They under-hyped this match so much that its brilliance was unexpected and was an amazing choice for the main event of the evening. Undertaker truly was put to the challenge, surprisingly, by Edge in this match. The crowd in this match helped out a lot, as they did with many other matches, and really brought the event to life in the last 30 minutes of the show, making Taker's win all the more special and appropriate.
Of course, in the "good-bad-good" trend that WWE's Manias have been following over the past couple of years, I didn't expect much from the 25th Anniversary, that truly was one of the dullest and most laughable Manias I've ever seen, a real dive. By "good-bad-good" I of course am referring to the trend started around 18 or 19, or even 20, where it goes from a good Mania, to a bad Mania, to a better Mania, to a horrible Mania. With 26 being an improvement over 25, obviously, as bad as it was, I think I may just vomit thinking about how bad 27 could be.
Oh well. All I can do is hope for another XXIV.
WrestleMania 21 (2005)
Memorable
This review is a little late, and I did watch this when it first premiered, but never thought about reviewing it on here. But I've decided that I actually have something to say, so here we go.
People I know who have seen this 'Mania, have been quite disappointed after viewing it. People compare it to the previous Manias, such as 19 and 20 (20, I think, paled in comparison to 21). However, I saw 21 as a kind of "New Beginning," that I hadn't seen since Mania 18, which was another alleged "let down," but one of my personal favorites. Like 18, 21 marked a new age for the business. 18 marked the beginning of the WWE itself, as opposed to the WWF, and was also the beginning of the Smackdown! branch, along with the convergence with WCW.
21 did something very similar, in that it converged with ECW, and turned ECW into an entirely new branch for the WWE. It also started something along the lines of the Undisputed Title (which was won by Triple H at 18), where both the WWE and World Heavyweight Championships were on one side of the brand, similar to what had happened with the World Title and the WWF title at 18 during the WCW-WWF/E convergence which was taking place.
Mania 21 was also the beginning of the now traditional Money in the Bank Ladder Match, and was the beginning of some of the longest-running and most dramatic rivalries in WWE history - Batista vs. Triple H (and the death of Evolution all together), JBL vs. John Cena, Undertaker vs. Randy Orton, and Eddie Guerrero vs. Rey Mysterio, not to mention the feuds and battles between Shawn Michaels and Hulk Hogan. 2005 in general was and still is my personal favorite year in World Wrestling Entertainment, in that it was a year of new ideas and styles for the WWE, down to as things as little as the new-styled match cards for each PPV event.
I'd still have to say my favorite Mania of all-time is X-Seven, though, but how could you not? However, smaller Match card Manias such as these (only 8 matches, as opposed to XX's 12 matches and XIX's 10) I always enjoy, because each match is given enough time to develop and flourish, and each performer is given enough time to... Perform. I mean I don't think I've ever seen a better Taker one-on-one match at any other Mania than here (save for Michaels vs. Taker, of course), and with Randy Orton? He can put up one hell of a fight.
Its Wrestlemanias like these that I remember, not for the match length or for the more violent matches, but for the moments like Orton's RKO choke slam counter, Hogan's return, Piper's Pit with Austin, Batista's thumbs down, and of course the Michaels vs. Angle match in general.
Lost Highway (1997)
My Personal Favorite Lynch film
Among David Lynch's many bizarre and extraordinarily audacious works, one film stands out above them all - the one film I like of when I think of David Lynch: Lost Highway. Possibly the most underrated of all his films, and certainly one of the biggest cult hits.
The film stars Bill Pullman as a disturbed jazz saxophonist named Fred Madison, Patricia Arquette as both his mystical black-haired wife and Mr. Eddy's stunning blonde-haired girlfriend, Balthazar Getty as a young mechanic named Pete Dayton, Rogert Loggia as the powerful Mr. Eddy, and Robert Blake as the ever-so-creepy Mystery Man. The film also features some interesting cameos from Richard Pryor, Giovanni Ribisi, and Gary Busey as Pete's father.
The film flirts with such ideas as reincarnation and psychogenic fugue. Lost Highway was to be the first of what John David Ebert calls his "Los Angeles Trilogy," the second being Mulholland Drive and the third being Inland Empire. Although, I must admit Inland Empire is probably the strangest and most unsolvable of the "Trilogy," and possibly of all his films, ever.
Lost Highway, I found, was his most well-written work. He seemed to dissect subject matter which hadn't even been seen on film before. The idea of somebody recreating their life in their own imagination upon the realization of their reality. Some may disagree, suggesting many other interpretations, or stating that that idea had been done before. Well, I must say that it has never been done this way. This film was the start of an original and trademark style of Lynch's, the style which would make his films recognizable based merely on the use of camera-work and lighting.
With Lost Highway, Lynch reinvented the usual film narrative in a way which put the viewer directly into the driver's seat of a delusional and/or unstable mind. In this case, Fred Madison's. Slavoj iek noted Lynch's prominent use of exploiting "the opposite of two horrors." Lost Highway does this by observing the mystical, and noir-ish dream-land versus our much more disturbing everyday life of alienation and deceit. Lynch takes refuge on this technique in both Mulholland Drive, and Inland Empire.
I don't much listen to what most professional critics have to say about a film because, frankly, they're opinions aren't usually the smartest or well-guided out there. Take any film from Stanley Kubrick, for example. It's much more fun for a film-goer to discover cult films like Lost Highway, than stick with the same Casablanca-esquire formula you'll find in most critic favorites. And in the words of Robert Blake -- It's been a pleasure talking to you.
Avatar (2009)
Didn't Get Me
I would just like to say that, first off, I'm aware that this is an excellent film. It's original, and it's overwhelmingly enjoyable. However, that is only for some people. For me, however, well... Let's just say that it didn't get me.
I went into this with some of the highest expectations that I've ever had. I wanted to be wowed, quite simply. And I wasn't. I felt that the film followed too much of a formula, and took too many turns into clichés. I've got a feeling the only reason nobody has noticed these things is due to the revolutionary visual effects the film presented. Never before seen. It blinded many people from what story was actually there. And there wasn't much story. It was quite simple.
The story followed closely behind the usual District 9-ish themes. It, like many before it, just states that the United States Government is corrupt and always wants control of everything for their own uses, etc. This storyline and its themes is so hackneyed, that seeing Cameron take advantage of it makes me sick. This film doesn't come close to his others, including Terminator, Aliens and Titanic.
However, I will say that the background to the characters and to the aliens was extremely fascinating and original. Cameron has a way of doing things like that. But that wasn't enough to save the film for me. I didn't even enjoy for the action and adventure, because quite frankly it wasn't that impressive. I didn't feel that anything was real and the CGI was used to an extent that the film just turned into an animation.
Overall, the film fails mostly on an emotional level. I didn't feel a thing for any of the characters. I didn't care who lived, or who died. Sam Worthington tried hard, and he gave a great performance, but it wasn't great enough to save everything else. Best film of the last 30 years? No. Way. In. Hell. I don't even think it was one of the best films of the decade, let alone the best film of the year.
All I've got to say, is that this film definitely did not surpass the hype. It didn't get me.
Drag Me to Hell (2009)
Horror Hysteria: 'Drag Me To Hell' Review
The following is a review of the latest Sam Raimi masterpiece, Drag Me To Hell.
'Drag Me To Hell' is pretty self-explanatory, and the plot is very basic, something that Raimi has done in the past. The plot, like Evil Dead, seems so far-fetched and corny that you would very much try to avoid watching it. However, the amount of entertainment that 'Drag Me To Hell' possesses is almost overwhelming. It was quite a shocker, and one hell of a cinematic experience. It's the 'Evil Dead' of the 21st century, and can't possibly let you down in any way. With this film, Raimi has brought back his signature pulpy, stylish directing style with a bang. I thought I would just be sitting through your usual, clichéd melodramatic horror flick. What I got was a series of unflinching non-clichés that come so unexpectedly, like for instance the scene leading up the "curse" sequence near the beginning in the parking garage. Now I'm not going to give anything away, but get ready for one hell of a thrill. And don't be afraid to laugh, the situations in this film are hugely amusing and darkly comical.
And now onto the acting. It's not that bad, and it's not the best. But, trust me, you won't be worried about the acting while watching this movie. However, Lohman does give quite a good performance in this film, much better than one might think. Simply enough, if you're a fan of even the Spider-Man movies you'll enjoy this. Raimi incorporates the same directorial techniques all the way around. However, in order to get a grip on the kind of direction/writing and acting that this film will possess, I suggest you watch the original Evil Dead movies, most preferably 'Evil Dead 2.' That's a good film to compare this to.
I've read many comments on this board that talk about Raimi's use of CGI, as being a bit "over-used." Now, if your a fan of his original 80s trilogy, this doesn't use those same kinds of visual "techniques." But I wouldn't be too worried if I were you, it definitely adds to the scare effect.
Finally, I would just like to note how refreshing it is to see an original and audacious as this. The ending will leave you quite satisfied, with a very nice touch of hugely dark comedy, reminiscent of the infamous ending to "Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb." Enjoy.
Chinatown (1974)
Noir Transcending Noir: Chinatown Review
The title of this review was inspired by a previous comment by Jason Berkley. I believe the phrase "noir transcending noir" is the perfect way to describe a film like this.
So rarely does a film come along like Chinatown. A seemingly mainstream, yet utterly cult-like tale of the mystical human psyche. Yes, of course, when you hear those words you immediately think of the Ridley Scott film Blade Runner. Both that and this film, to me, are very close in relation. They both are films of perfection, while Chinatown captures the pure essence of a very strange time, and in that you can only do so by caging the audience's ability to have open opinion. This film gives no room for anything of that manner. Chinatown catches something very humane that hasn't been perfected yet - the "robot" side of man. This film tells the story of real humans, and real men. A human isn't someone who is free, or truly happy with what they have, or what they'll be given - everyone is flawed, everything is flawed. Human's are robots - and robots are the true summation of what we describe as the human mind. It is said that us, as people, only use 10% of our true brain functions, abilities, and on and on. This is definitely true.
Examples of other films that "get" what I'm saying, are films like 2001: A Space Odyssey, Citizen Kane, The Godfather, Taxi Driver, Magnolia, Full Metal Jacket, The Deer Hunter, The Shining, Sunset Blvd. and Apocalypse Now. They all pick apart the human anatomy in such a way that is completely mystical - unashamedly mystical. Instead of explaining what is going on around the characters, or why, we are instead tricked into thinking we've missed something very important, and complex - when, really, we are just seeing a very descriptive and almost horrifying declination into what is really happening in the story. Movies like those which I've listed, have always given me hope for as far back as I can remember. They give me hope in film, however, on the other end of the spectrum, they frighten my deeply. Cinematically, they are astonishing and masterful - however, they are a bit too perfect. Instead of making you feel good, bad, sad, suspended, etcetera, they make you feel alone and truly helpless... as if you're watching a tragedy unfold before you, which you are.
The human mind doesn't expand, it condenses, alienates. We cannot stop this, unless we spend our entire life living as a different person, with a different family, and different friends, everyday... and we remember this and are aware of it. The human mind raises itself based on it's environment - therefor, instead of taking advantage of it's surroundings, it attempts to avoid complication by hiding behind it's surroundings thus causing confusion, which (I believe) is to be the main point of films like Chinatown or any of th others that I've listed. Then, comes the ending... of course. This, next to the beginning, is the most skeptical and the most pivotal point in the film....
...the ending line or action is the one that defines the film and it's purpose. For example, Apocalypse Now: "the horror" / Sunset Blvd: "Okay, Mr. DeMille, I'm ready for my closeup..." and on. This film's last words are so powerful, it seems like the entire film was revolving around those last 5 seconds - which it should. But truly, this film transcends it's own genre... in those last words, heard from the voice of Walsh, "Forget it Jake -- it's Chinatown."
Boogie Nights (1997)
An Original Cliché: Boogie Nights Review
The Following is a review of the P.T. Anderson picture, Boogie Nights.
Everyone has one special thing...and, apparently, Mr. Paul Thomas Anderson has found his in both writing and directing. This is a rare piece, which is simply a giant cliché with multi-layered originality beneath the surface.
It is quite polished in all aspects. The acting is so fun to watch, and the film itself is, on no rare occasion, a good-hearted fictional biopic of a Holmes-inspired porn star, spanning over 6 years from 1977 to 1983. It is fun to watch, and you don't feel guilty for enjoying every second of it. This, I might say, has to be PTA's ONLY film that doesn't attract only one type of crowd...this attracts everybody, and all for the same reasons, and also for the right reasons. You do not go to this wanting to watch the porn they make, you go to see how they do, why they do it and what their take is how its done.
In a simple conclusion, there is absolutely nothing wrong with this film. It may not make you cry and it may not make you laugh...but I can guarantee one thing it will do, it will make you care for the characters from the first moment you see them. PTA is a major actors' director, along with his own cameraman, editor, producer and writer. He is, on technical terms, the next Stanley Kubrick. Yes, this film has its flaws, but not one of them is a character flaw. Every character is perfect. and I say that with full knowledge and self-awareness.
There's another point, honesty. This film is honest in its entirety: it shows the ups, the downs, the hilarity, the irony and the happiness of life. It goes full-force in the Crime aspect, the Comedy aspect, the Drama aspect, and the Romance aspect. My favorite part of this story, I think, would have to be the four most innocent, good-hearted people in the entire story: Jessie, Buck Swope, Scotty J and Little Bill. I became excited whenever their faces would pop-up on screen.
There is something else that PTA does here...he not only makes you care for all the characters, he also makes you like the actors playing them thru careful examination. Now, two of my least-favorite actors are Mark Wahlberg, Julianne Moore and Heather Grahm. Now, in Wahlberg's case, this is the ONLY film I've ever liked him in (literally). This and Magnolia are the only films I liked Julianne Moore in and this is ALSO the only film I ever liked Heather Graham in.
This IS a PTA film you only have to watch once, due to it's simplicity. But (according to rare reviews of his other films), for a LITTLE SUM of you, this is PTA's only film you would WANT to watch more than once. I've seen this 9 times, Magnolia 16 times, Punch-Drunk Love 7 times, There Will Be Blood 6 times and Hard Eight 2 times...
...so that leaves me on one positive note: I can't get enough of this director...and his use of An Original Cliché...
Punch-Drunk Love (2002)
The Meaning of Originality: Punch-Drunk Love Review
...every once in a long while you find a film that can be both extremely believable and yet so far away that its strange. This is one of those films. Often called Paul Thomas Anderson's masterpiece, Punch-Drunk Love is my favorite Adam Sandler film...but not my favorite P.T. Anderson film. Magnolia is my favorite PT Anderson film.
The strong feeling of danger, love and hilarity builds and builds as the story progresses. One thing people complain to me about is the full-time music in the background. However, I feel that is one of the more original aspects of Punch-Drunk Love: its ability to keep you hooked even if you don't like it. You may not like the film, but you still want to know EXACTLY what happens and you do, kind of, care about the characters.
I hated this film the first time I saw it, not knowing what I was going into, due to my inexperience in watching PT Anderson films. This was my first of his that I've watched, the second being Magnolia, the third being Hard Eight, the fourth being Boogie Nights and the fifth being There Will Be Blood. All of his films have this feel of intense danger, power-hungry wants, needs, happiness, love, care, joy, and the inability to cope with the problems at hand.
This is a perfect comment on the alienated, unloved, and unknown society living in our little suburban worlds. It's the ultimate cliché, yet it's one of the most original films I've ever seen. That is ALSO a very original aspect of Punch-Drunk Love and the brilliance of each and everyone of PT Andersons films: He uses clichés in an original way.
In conclusion, Adam Sandler puts on a performance of a life-time, with odd resemblance to his character in Reign Over Me. This is, probably, Paul Thomas Anderson's most original work (not his best). If you enjoy a calm, relaxed, sit-back-and-enjoy kind of film...this one is NOT for you. If you enjoy an 80-minute film with 4-hour film potential, filled with non-stop comedy, awkward moments, quotable lines and the strong sense of catastrophe...then this is perfect for you...being as this is: THE MEANING OF ORIGINALITY.
2001: A Space Odyssey (1968)
Possibly The Greatest Film of All-Time
*******The following is a review*******
The film deals with thematic elements of human evolution, technology, artificial intelligence, and extraterrestrial life, and is notable for its scientific realism, pioneering special effects, ambiguous and often surreal imagery, sound in place of traditional narrative techniques, and minimal use of dialogue.
Despite receiving mixed reviews upon release, 2001: A Space Odyssey is today recognized by many critics and audiences as one of the greatest films ever made; the 2002 Sight & Sound poll of critics ranked it among the top ten films of all time.
Director of Photography Geoffrey Unsworth did not want the film to be complicated with printing effects such as blue screen, so most of the special effects were done as in-camera effects.
This film pioneered retro-reflective matting (front projection) in mainstream movie production. The technique was selected to produce the backdrops for the African scenes where apes learn to use tools, as traditional techniques using backdrops or back-projection did not produce a realistic looking result. Existing techniques using painted backdrops for stills or back-projection for moving scenes simply didn't produce the realistic effects Kubrick demanded. The technique was also used for a number of shots during the spacecraft scenes, notably to produce the images seen through windows. The technique has been used widely in the film industry since 2001 pioneered its use, although starting in the 1990s it has been increasingly replaced by green screen systems.
Due to the magnificence of this piece, I've found myself watching multiple times within a week. It truly is groundbreaking; in my mind, the most visually groundbreaking film in history. The thought of this film being "boring" or (as I've heard) "pointless" is like saying The Mona Lisa is pathetic. This movie is far from boring, it is the most interesting, and visually masterful film I've ever seen. The term "pointless" towards 2001, is a reaction that you'd find in the mind of a 15-year-old jock.
If THIS movie is pointless, then what films aren't?
It's Always Sunny in Philadelphia (2005)
It's Wicked, It's Wild and It's Always Sunny
This show is the definition of brilliance. From the very first episode to the latest, this show doesn't get lose its hilarity like some shows. In fact, this show keeps getting better and better! One of the main key reasons i enjoy "It's Always Sunny In Philadelphia" is the fact that it has pure comedic entertainment 100% of the way through, from the beginning of the episode to the end. And every episode has an extremely original and vastly refreshing comedic situation that gives you a feel of why this show's title - "It's Always SUNNY..." - is so brilliant. A few more key reasons are: 1 - it doesn't hold back; 2 - doesn't have any sort of drama whatsoever; 3 - it's unpredictable; 4 - the characters are lovable and so easy to relate to in a weird and psychotic sort of way; 5 - most importantly, IT GETS AS FUNNY AS IT COULD GET!!!!!!
Magnolia (1999)
Odd Amazement: Magnolia Review
This is a review of the compelling P.T. Anderson picture, Magnolia.
Magnolia tells numerous interrelated stories, which i believe, are all centered around the Television game show featured in the film called "What Do Kids Know?" All the branches of characters and their stories in the film come to a conclusion at the game show.
Using enjoyable music, specific lighting, camera work and dialogue, P.T. Anderson has created a rather odd but all-around interesting look into alienated suburbia with such characters as a single cop, depressed game show host, dying game show owner, the caretaker, drug-addicted daughter, lonely mother, regretful wife, angry son, the former Quiz-Kid and the intelligent game show boy.
Once the film starts you get feel for the film and realize that this film is one of THOSE films: the specific taste which you either love or hate. ALL of P.T. Anderson's films have this feel and/or originality to them.
Going into this film, I had expected an interesting & enjoyable movie. I watched it not know what was going on 75% of the time but still feeling like I had a grip on the current events in the story, which is one of the most intriguing viewing experiences I have had in a long while. It, along with the film's original camera work, made this film extremely watchable, giving it an effect/print of it's own that it leaves on you after watching it.
I'm not sure how to describe this film, I never have been able to. And after asking some of the people i know who have seen this, i've gotten comments that consist of such words like "fantastic", "odd", "stupid", "amazing", "interesting" & "original". Most of the comments have averaged up into what i have to describe this film's experience:
ODD AMAZEMENT.
American Beauty (1999)
"Sometimes there's so much beauty in the world.....I feel like i can't take it"
This is one of the best movies i have ever seen. Wacthing it was one of the greatest experiences of my life. It opened my eyes to so many things you can't understand unless you watch it first-hand. I'm surprised that not everyone in the movie won Oscars! It's unbelievable how the acting, the situations, dramatic tension, intensity and atmosphere created is absolutely believable. From start to finish, both the comedy and drama are EXTREMELY entertaining.
The performances by Kevin Spacey, Annette Bening, Thora Birch, Wes Bentley, Mena Suvari and Chris Cooper make this film one of THE BEST ever! Every Oscar well deserved, even though it should have more...
Alien Resurrection (1997)
Ridley & James created it, Fincher & Jeunet ruined it
I watched the first two films hoping for the next great hit, and i was right. The first two are pure masterpieces from the acting to the characters to the story, screenplay and art direction. Beautiful. Then, i watched number 3 and this one, and i almost cried because of what these two directors did to the saga, they destroyed it top to bottom. I absolutely dread ever watching these and feel the utmost sorrow for those - other than me - who did as well. I strictly believe fincher and jeunet should make a public apology for making these. I LOVE Ridley Scott films, every time i watch one i'm literally left speechless. One of my favorites is Legend - awesome. And my favorite is of course Blade Runner, duh.
Anyway, please don't watch this. Don't. I don't even care about opinions anymore concerning this film, no offense, i just hope you'll watch the first two before watching this. I'll give a reason: if you watch this you'll get used to the 'ol "we're getting chased through science fiction garbage by a killer alien and it is extremely action-packed and scary...bla, bla, bla." The first two are quite serious and unique, the first isn't even action-packed, that's why i love it. It's about the mystery of the creature and the investigation into it's origins.
These are my personal and final thoughts, and i hope you take my advice.
Blade Runner (1982)
Blade Runner Review
There are no words to describe what i feel about this film, so i will describe in sentences.
When i first watched this movie i didn't even finish, this i don't blame on myself, i blame this on the *beep* PREVIEWS!!! The previews of this film make it seem that it is some hardcore, super-action, out-of-this-world, sci-fi adventure. No. Every theory, every scene, every action, every affect is completely plausible. This film is pure Triple Gold, Double Hit, Multi-Platinum...everything. The special effects were unbelievable, in the sense that they were unbelievably believable to what it would really be like in the future.
This story also includes many warnings, such as "stop smoking", "stop littering" and "stop polluting". It sends a warning and shows an example of what we could look forward to if we do keep doing these things.
This movie hides many different messages, stories and moral teachings on many different levels. It contains a love story and a story of trying to answer those unanswered questions -- why am i here? how long have i got? What Philip K. Dick has created, and what Ridley Scott has recreated, is absolutely beautiful. I am glad Ridley Scott went ahead to make a Final Cut of the film. We needed re-mastered visual footage to go along with the strength of the story, we also needed to never hear that annoying Harrison Ford voice-over ever again! For me, personally, it ruined the entire film for me. Wherever there was a scene containing the film's signature dramatic tension, supported by Vangelis, there popped in the crappy macho-voiced voice-over. Note: I watched the theatrical (voice-over version) after watching the final cut for the second time, which i though was the greatest film of all time. I turned off the movie and had to watch the final cut again to redeem myself of the voice-over garbage at the end of the film when Roy Batty's life-span is up and he lets go of the dove in rain which flew over in clear weather (which i actually thought was a beautiful feature) after his famous quote: "All Those Moments Will Be Lost In Time...Like Tears In Rain", and then dies. This was ruined by the macho voice-over crap that popped in from Harrison Ford to tell us the obvious of how come Batty let him live.
Anyway, please, if you have watched in once and didn't care for it, watch it again (Final Cut version) and even more times if you have to. And once you have absorbed as much as you can from WATCHING it, then play the movie again and observe its methods and small elements of complex information. Do it, i guarantee you will enjoy this piece of film-making.
Freaks and Geeks (1999)
simply the best television show I have ever seen, literally.
This show was absolutely addictive, the storyline was perfect, the acting was perfect and the characters were so unbelievably unrealistic I thought I was watching a recording of real life. It was perfectly cast and set in the right setting (1980's). It would've most definitely been a dominate television show if not been canceled, but the only bad part would be that long depressing state between seasons when all i can think about is more Freaks & Geeks. My older brother said that i watch stupid shows and i had him watch Freaks & Geeks and couldn't get him to stop watching them. For everyone who ever lived, this is, to put it simply, the best.
Superbad (2007)
Superbad review
Superbad is a story about two friends with separation anxiety. this is their last night as high school kids, it's time to seal the deal with their girls.
To start off, the beginning of the film really sets the tone for the rest of the film. when it first starts you are immediately drawn into the acting and comedic performances. the movie immediately tells you that Evan is a slightly shy, but all around gentlemen. you also find out that Seth is freakishly horny teen with the need to get a girlfriend for the summer. Once about 1/5 into the movie you find out that Fogell (McLovin) is a out-going wannabe ladies man, who uses terms such as "gangstas" and "homies".
To put it simply this movie is a very good teen movie, and possibly the best one ever in my eyes. Many people compare this to American Pie, this surpasses American Pie by quite a bit. On the comedy balance beam, this BARELY out-weighs "The 40 Year Old Virgin", but i don't compare the two because to me they are like brothers. Both written and produced by the same people, with the same type of comedy.
I recommend this film to anybody with a smart sense of humor and in the right mood for a Judd Apatow film.
"I am McLovin"
No Country for Old Men (2007)
"call it. I can't call it for you. It wouldn't be fair"
******miner spoilers******
Hmmm...you piece it together: true Tommy Lee Jones + scary Javier Bardem + tuff Josh Brolin + creepy Woody Harrelson + Coen brother's best movie ever = PRETTY F*CKING GOOD MOVIE! This is my favorite movie of all time! One of the most, if not the, most original / best novel adapted film ever! -at least since Godfather-this film has some of the best acting ever! Academy Awards are gonna get a wake up call from all the average acting this year, to JAVIER BARDEM! He puts on the performance for the century! And for all those questioning, and wining about the ending, who said it was an ENDING? I think it's the beginning of a new awesome story-but please don't make a sequel Coen brother's, leave us wondering, that way you get to interpret what happens, find a solution, and be happy without having to watch a sequel and be disappointed! Anybody that likes non-stop chills, and strong scary realistic violence with one of the best assembled casts ever, you'll love this film. Add the the Academy Award worthy acting as a bonus for the experience!
PS. there were so many people in the movie theater, that there was just as many people in the walk-way and up and down the stairs, as there were in seats. And half of them didn't even have tickets for this movie!
Austin Powers: International Man of Mystery (1997)
"shall we shag now or shag later?"
This, along with it's series, is probably the funniest movie series i have ever seen in my entire life! It is unstoppable! Intouchable! Nobody has mastered the mind of Mike Myers-from Waynes World to this...let me catch my breath-and his Austin Powers i believe is one of the most quoted movies ever: "shall we shag now or shag later?"/"Ya know Austin, in Japan, women come first and men come second." "Or sometimes not at all." / "how dare you break wind before me." "sorry baby didn't know it was your turn."
I would recommend these movies to anybody that enjoys all out, full frontal, sold comedy throughout!
Austin Powers in Goldmember (2002)
"moley moley moley moley moley!"
PURE BRILLIANCE! This is probably the first series i have watched in maybe forever that is a PURE F'ING comedy! NO DRAMA AT ALLLLLLLLLLLLLLLL! Actually, wait, there is "drama" but it goes on for about 5 seconds and then turns into a hilarious gag! Mike Myers is a complete genius! From Wayne's World to this, let me catch my breath! Please! Most comedy series of a great hit and then it heels with a bunch desperate boring movies, such as American Pie! American Pie #1 is one of the funniest movies i have ever seen! However all the rest aren't at all! Another series of movies (just 2 movies) is Bruce and Evan Almighty! Bruce Almighty almost made me drop a lung! Evan Almighty was extraordinarily dull!
There is just something different about each Austin Powers movie, they all have their own memorable moments/reputation. However other movie series' like American Pie, and the Almighty series depend on one thing, the funniest most memorable moment in the first film and stretch it out way to far!
In conclusion, i am the teacher and Austin Powers gets a HUGE A+! And an extra A for extra credit we weren't expecting!
Planet Terror (2007)
i can't quite put my finger on it....
...i still can't, oh well, this movie is VERY, VERY entertaining in almost every way. If you like Rodriguez, this is the perfect movie to show what he can do. However, comparing this to the ORIGINAL grindhouse features, i might give it a 6 MAYBE 7 out of 10. If you are wondering why, it is because this film doesn't have enough raw sexuality, and it's violence could be more explicit. But if you don't compare this to the original movies back in the day, this film ranks in the TOP 10 movies of all time for me!
Other than all that, probably the most original and exciting idea i have ever heard of, is having fake movie trailers. I don't think people come to see Grindhouse just because of Planet Terror (i heard Death Proof wasn't good) i think they also come for the fake trailers! All of the trailers were so cool, raw, and kickas.s! "Thanksgiving" is phenomenal! Machete is ACTUALLY being made by Robert Rodriguez right Now (sick movie! "Don't" is hilarious and "Werewolf Women of the SS" is one of the coolest Rob Zombie ideas i have ever heard of! I definitely want everyone who reads this to go to a movie store, rent or buy the movie and watch it!