tmensamaster-2 Reviews

The 4th Man (1983)

Astonishingly directed by Paul Verhoeven

[11 November 2002]

Paul Verhoeven is known in Hollywood as a maker of ultra-violent, ultra-sleazy films. 'Showgirls' bears the brunt of many bad movie jokes and 'Total Recall' and 'Robocop' are known to be very entertaining but stupid. Depending on who you talk to, 'Basic Instinct' is either sleazy trash or an erotic masterpiece. These films definitely do not belong to the art category: They are Hollywood entertainment. Most people think that is all Verhoeven can do. They will be surprised, as I was, that his Dutch films are suitably different. They are art-house material and several times have been nominated by several critic's associations as Best Foreign Picture. De Vierde Man [The Fourth Man] is his most notable accomplishment It is truly astonishing: It is eerie, gory, sexy and chilling with an amusing and involving performance by Jeroen Krabbe as a bisexual writer who bites off more than he can chew in a sexy hairdresser in the form of blonde Soutendijk.

Krabbe plays real-life writer Gerard Reve whose books are very well-known in the world of literature. He is asked to speak at a function attended by several prominent literary fans. Strange clues are revealed in his journey. He has a hallucination on the commuter train of an eye squishing and oozing through a hotel room door and of his name on a coffin. Later, at the function, a strange woman follows him with a camera, videotaping his every move. She is Christine Halsslag, a hairdresser who is incidently the groups treasurer and says she is videotaping him as '' a memory of his visit''. Though Reve is annoyed by her pestering camera, they seem to hit it off. She shows him the hotel where the group has paid for his room in case he is too tired to go home on the train. His eyes widen, it is the same hotel where the eye oozed through the door. Seeing he is unnerved, Christine asks him if he wants to stay with her. He accepts her offer and.....Things really begin to hit it off......

Soon, some strange things are revealed. It seems that Chrissy's been married three times and her three husbands have died rather bizarre deaths. After seeing a picture of Christine's sometime boyfriend. Herrman, Reve becomes determined to sleep with him and tries to manipulate Christine to invite Herrman back. But, who is doing the real manipulating?

The film is set up similar to a Kubrick film in that everything is told in riddles and visuals that tell the story in a way that resembles some kind of fable of good and evil. The film has much religious symbolism: the opening shot is of a spider crawling over the figure of Christ on the cross and Reve himself seems to have religious visions of what may be the Virgin Mary. Christine herself begins to act strangely: she drives a bit too recklessly for him. The film is very similar to Verhoeven's 'Basic Instinct' in that we have a main character who may be fatally attracted to a killer and the potential murderess has a cold, kinky style that is too strong to resist. Soutendijk even has a resemblance to Sharon Stone: the blonde hair, the sexy yet evil smile, she's like a dramatic version of Elizabeth Hurley's devil in 'Bedazzled'. She so obviously but so easily poisoning him with her sexiness, she is like a devil, tempting the hero with endless pleasure for a high price. If the Virgin Mary finds it so important to protect Reve, isn't it conceivable that Christine is a manifestation of the devil. A behavior near the end seems to suggest this, she is done with Reve and needs to move on to a new soul

Believe it or not, I haven't given away anything. The film twists in so many directions that some things may or may not have ever happened. The film is astonishingly and intelligently directed by Verhoeven and after seeing this, you will be tempted to see his other Dutch films before he was Hollywoodized. Afterwards, I found myself wishing that Verhoeven would do another one of these, a sexy, smart and stunning film.

Exotica (1994)

The most haunting film of the decade

[10/10 · 2 November 2002]

Atom Egoyan's 'Exotica' is in my opinion, his best film to date and one of the best films of the decade. I originally watched the film late at night on a channel called 'Showcase' which doesn't edit their movies. I'd heard of the director, Atom Egoyan, but hadn't seen any of his films. After the credits began to roll, I sat there absorbing its impact. This is a film where all the secrets and the characters motivations are not revealed until the end [not a bad thing]. The film creates an atmosphere of sadness and melancholy that is spellbinding and the plot itself is a compelling one.

The film is almost 'Magnolia' in a strip club. I say that because it is about several characters whose lives are so interconnected they will inevitably meet. If one person were removed, their lives might just collapse. One of the characters, played by Bruce Greenwood has a destiny that will, in fact. meet up with one of the club's young dancers and the DJ, something we do not expect. We make assumptions about characters, whether they or good or bad. I don't know how many times I was wrong. The film twists so deviously yet so quietly and deliberately. We don't know anyone's full story until the end, which reveals something so heartbreaking, it almost tears the fabric of the movie.

Of note is the movie's cinematography and music. Some of the music is eroticised, creating the atmosphere of the strip club. But others, like a haunting piece that plays over the 'field scene' are breathtaking. That piece of music has to be one of the most effective and beautiful piece of music I have ever heard. Whoever did it [ I believe it was Michael Danner or something] has to be commended for creating a piece I will always remember. The cinematography is just as effective. It is darkly filmed, with some graininess but vaguely rich. The field scene has a yellow tinge to it: It feels almost heavenly. From what is revealed later, it is anything but heavenly......

An amazing film that must be seen by thinking moviegoers. From the way it was advertised and the video box art, it looks like some voyeuristic porno. It is anything but. After seeing Egoyan's other films, like 'Felicia's Journey' and 'The Sweet Hereafter', it must be concluded that this is his most accomplished film. Truly haunting, hypnotic and emotionally draining........... A Perfect 10.

Basic Instinct (1992)

Classic Verhoeven

[9/10 · 1 November 2002]

Paul Verhoeven is one of my favorite directors. His movies are so damn entertaining. They always, well I should say most of the time, have wit and intelligence [Forget 'Showgirls' and 'Hollow Man', any director can make mistakes] and have either graphic sex or violence or both. 'Basic Instinct' is in the latter category. It is so erotic and Stone and Douglas have so much sexual chemistry that when you look at an Adrian Lyne film, you see them for the crap they are.

Basic plotline has Stone's character, 'Catherine Tramell', accused of the vicious sex murder of a retired rock and roll star. Douglas's character has a strange attraction to her, which may not lead to good things..... Paul Verhoven has openly admitted that this film is a homage to Alfred Hitchcock's classic masterpiece 'Vertigo'. In fact, Stone wears, in sequence, the same wardrobe as Kim Novak did [which makes you wonder, was she wearing panties under her clothes]. That brings us to the interrogation scene, which is the best in the movie. Stone shamelessly flirts with the cops' libidos until the buildup of sexual tension is so great, Stone releases it by playing 'peek-a-boo' with the space in between her legs. Every male viewer cherishes that scene, simply because it is so sexy. That word can be used throughout the film, as Stone and Douglas do the mattress mumbo. At the time, the sex scenes were so realistic that the press went wild and debated whether or not viewers were witnessing un-simulated sex. The film is still quite sexually daring today and has an intriguing spider's web plot too. The plot's twists and turns manage to make the movie sexier as the viewer wonders whether Sharon is innocent or guilty..........

The film's only misstep occurs at the end, with an unsatisfactory ending that makes the whole film seem like some stupid, contrived game. But it's not. It keeps it's fascination and it's sexiness and its suspense right up till the end, which is what a good erotic thriller should. Actually, the ending for some will lead to a lot of discussion if you watch the film with someone, as the film toys with two of the film's characters innocence or guilt and does not give up all its secrets.....

The film is great Verhoeven. It has his usual, hilarious, seemingly inappropriate kinky humor and extreme sex and violence to match. The fact that Verhoeven is actually able to balance the film and make it funny and sexy is wonderful film-making. Well, have I said 'sexy' enough times? Then go rent it.........8/10

P.S. If you like this one, check out Verhoevens' Dutch film ''The Fourth Man''. It has a similar plot and even a similar character that resembles Catherine Tramell. If the ending of 'Basic Instinct' leaves you wanting, check that film out. It is even better than 'Basic' and is more 'arty'. It is also a little bit more daring erotically.

Happiness (1998)

One of the best and most original films of the past twenty years.

[10/10 · 17 October 2002]

Todd Solondz and David Lynch have one thing in common: they're both often called perverts. Lynch, for his film 'Blue Velvet and Solondz for his fantastically original film 'Happiness' . The film takes your typical[and not so typical] losers, perverts and ordinary people and rotates them around so at one point, we may be touched at the characters plight and at the next, we laugh as the movie pokes vicious, biting fun at them. This is quite similar to what Lynch did in 'Blue Velvet'. In fact, 'Happiness' is almost like the twisted second cousin of 'Blue Velvet'. Solondz places many homages to Lynch's film[The hallways in an apartment complex seem to have an electric hum; the basic theme of perversions under suburbia] but Solondz goes more in the direction of satire directed at people who could be your next-door neighbor.

The film is like a more perverted version of 'Magnolia': It takes a group of several people and follows their lives. But while 'Magnolia' dealt with ordinary people with big problems,' Happiness' deals with people who may be and are problems to society. To give examples: One character is a pedophile and, in the course of the film, does rape some children[OFFSCREEN];Another is a fat loser, played brilliantly by Phillip Seymour Hoffman, who makes obscene phone calls and then masturbates, An eleven-year old, obsessed with masturbation himself[ leading to one of the best final lines of any movie ever]. And of course, the perpetually euphoric woman named 'Joy' who's life is a hopeless mess. Solondz though, turns the tables on these possibly unpleasant people. He takes them, makes us feel sympathy for them, than brutally makes fun of them. Some hated the film for this: how can you make fun of people while at the same time try to identify with them. But Solondz manages just that. He seems to be see them one way, rotates the microscope, and then sees them in a totally different light. This contrast actually helps us to identify with the characters more, because we see them in so many different lights, we know more about them and can therefore feel for them. Through the course of the film, we get involved in everyone's plight, several of which are howlingly funny.

Phillip Seymour Hoffman's character has an obsession with the woman next door[Lara Flynn Boyle]. He fantasizes of having sex with her and even raping her. But he knows, because he is so meek, it could never come true. One night, when he phoning up people to give them obscene messages, he phones the neighbor. She is turned on by his sexual ravings. She wants more. Using auto-redial[''I've had you on auto-redial all night.''] she begins to phone him so many times he unplugs the phone. She finds out his work phone-number, leading to one of the best lines in the movie;

[Hoffman]''What do you want?''

[Boyle] ''I want you to F#$@ ME!''

[Hoffman, nearly crying] ''I don't think I can do that.''

Solondz has just taken a characters perversions, turned them on him, and made vicious fun of a potentially sick situation. This repeats itself all through the movie, contrating with several emotionally powerful moments as when the father confesses his rape of one of his son's friends to a boy. He answers all the boy's questions, no matter how tough they get. I find it truly amazing that Solondz manages to find a balance and make this an UPLIFTING [Sort of] movie instead of turning it into something unpleasant.A truly Remarkable accomplishment

This film is not for everyone[ it went out unrated because the MPAA rated it NC-17 and that can mean bad business for any film]. But, for people who are open-minded and willing to see a movie that is really something to admire instead of the usual Hollywood crap, I highly recommend it.............10/10.

The Company of Wolves (1984)

Hypnotic dream-logic film: A classic Jordan film[Some Spoilers]

[8/10 · 17 October 2002]

Neil Jordan is known by most of his fans as someone who makes dark films that sometimes like to mix hidden eroticism into their plots[witness 'The Crying Game' and 'Interview with a Vampire']. 'The Company of Wolves' though, is probably the most obvious example in his entire work. Jordan himself describes the film as a 'menstrual film' as it is really about a young girl's sexual awakening. Beware horror fans, this isn't just another gory werewolf flick.

Rosaline[Sarah Patterson]is a young girl of thirteen or fourteen living in a village in a forest that looks like it was designed by H.R. Giger.Her grandmother[Angela Lansbury] passes on fables and 'moral' stories to her granddaughter to teach her 'The laws of the wood.'Some of these stories speak of men whose 'eyebrows meet in the middle' and often turn into wolves. The film itself encompases these stories and they make up quite a large amount of the film. The stories are used to explain, in a subliminal manner, what is going on in the main story. Most of the stories have some sort of sexual undertone and flesh out the sexuality in the main story as Rosaline starts to hang around with a boy in the village[with an especially high-pitched voice]. A wolf begins to haunt the village and kills some of the cattle while Rosaline embarks on a journey through the woods to visit her grandmother...

The movie makes obvious references to 'Little Red Riding Hood': Rosaline wears a bright-red hood, she is walking through the woods to visit her grandmother, she meets a huntsmen in the woods whose eyebrows meet in the middle....The film is an example of what would happen if you added eroticism to 'Little Red Riding Hood' and made it 'R-Rated'. The wolf is really just a metaphor for her sexual awakening. The boy's high-pitched voice, and, for lack of a better word, 'randy' libido are a metaphor for 'The Lawlessnesws of men'' and the woods have a very sexual design, with womb-like portals and potholes. At the end, when Rosaline joins the 'Company of Wolves', it is like her acceptance of her sexuality. All this sensuality is mixed with very hypnotic atmosphere and visuals. The film is like a journey through puberty...

The first time I watched this film, I didn't like it. I thought it was muddled and didn't make sense. I caught it again on late-night t.v. I was captured in it's spell and surprisingly, even though the ending still wasn't crystal clear, I liked it. I think it is very hypnotic and the ways the stories are told are spellbinding. I especially like the last one:''Out of the depths of the earth, a she-wolf came...'' Jordan is now one of my favorite directors and I look forward when he returns to this territory.

''And that's all I'll tell you, because that's all I know.....''

Run Lola Run (1998)

One of the most hyperkinetic movies ever made.

[16 October 2002]

'Run Lola Run' or 'Lola renn' as its known in German, is one of the most hyperkinetic films I have ever viewed. It is a textbook definition of a movie that puts style over substance. The plot: A young woman named Lola gets a phone call from her boyfriend who says that he needs 100 000 dollars or else he may be killed. What' more? He needs it in the next twenty minutes. Lola decides to go out and try to find money fast, RUN LOLA RUN.

The film offers three different versions of the events. all with different outcomes. But the plot really isn't the point. The point is to see how director Tom Tykwer manages to produce a film so stylish and exciting. At times its like watching a music video but with an involving plot and a length of 88 minutes. But the film never bores, it may become wearying but then Tykwer has another trick from the book to throw at us and we marvel at the film again. The terrific soundtrack is easilly one of the best in movie history. It communicates the hurried, hyperkinetic action of the film. You could close your eyes and just listen to the music and you could get an understanding of the film.. Lead actress Franka Potente communicates the music visually: Arms pumping,hair flailing; voice screaming and cussing; Its like watching an alcoholic run to the liquor store before it closes. In asurprising move, Tykwer develops the characters that Lola meets by using several dizzying flash frames to show us what their future will be after they meet Lola, all set to the wild techno music.. This may seem like cheating but it isn't, it clearly shows these characters lives without slowing the frenetic pace of the film. Lola's family members and friends are startlingly well-developed for this type of film. Tykwer manages to make the characters seem real, fully fleshed out and human. The fact that he manages to do that in a hyperkinetic film like this is truly amazing.

Extremely entertaining, extremely stylish film with one of the best soundtracks in history. Not one of the best films in history but still a notable achievement............3/4.

The Game (1997)

One of my 'top ten' favorites: Fincher's best film

[10/10 · 15 October 2002]

David Fincher's 'The Game' is a surprisingly human thriller. Instead of the 'big thrills' with no thought or care for the characters, Fincher delivers to us a film that has some surprisingly poignant moments, mixed with some real smart 'big thrills'. The film's opening sequence, set to a quiet, somber piano piece sets the tone to a thriller that will impact us emotionally, as well as jerk our adrenaline.

Nicholas Van Orton[Michael Douglas] is bored. He makes sarcastic, biting remarks about his life while at the same time preparing for his 48th birthday, the same age at which his father killed himself. His brother Conrad[Sean Penn] surprises him with a birthday gift, a free membership to a company that, as Conrad says, ''will make your life fun.'' Since he really doesn't have very many other leisure activities and the memories of his father are bothering him, he decides to sign up. What he doesn't know is that 'The Game' may be too 'fun' for him.

The film is boistered by superb performances, including Douglas' best since 'Wall Street'. Deborah Kara Unger impresses as Christine, the waitressis she a waitress?]. Sean Penn is quite good[in a role meant for Jodie Foster of all people] at playing the somewhat spoiled and mouthy 'little brother'. The script has wickedly funny dialogue and gives the film a slight 'black comedy' feel. As usual in a Fincher film, the cinematography is dark and forebodding and creates a 'noir' atmosphere of sorts. Howard Shore's music is excellent: Instead of attacking us with bombastic chords, a sound as simple as a piano tinkling is used to make our hearts race. The plotting is ingenious and one plot twist after another is instigated until the film creates a spider-web of fear and paranoia that has us mind-boggled. The films themes[of redemption and paranoia] are followed through right to the end in an ending that some think is supremely contrived.

Why? The film has followed its logical course to this destination and fulfills its themes. I personally LOVE this ending and think it is one of the most surprising ones I've seen in recent movies. It twists us around one-hundred and eighty degrees, flips us upside down and leaves our mouths agape in a 'WOW' shape. I ask, 'Is there a better way to end a movie than that?'

I highly recommend this film: it is an astounding. arresting and emotionally exhausting thrill-ride that deserves multiple viewings to fully appreciate...........A true classic..... 10/10

Indecent Proposal (1993)

An example of how some cliches still have life

[7/10 · 15 October 2002]

Before I viewed this film, I have always considered Adrian Lyne to be a sleazeball. He always has to make these, as he calls them, ''relationship dramas'': I've always just thought he made porn. I howled through '9 1/2 Weeks' , especially in the ''slide-show scene'', I think 'Fatal Attraction' has a ''kick-in-the-teeth'' ending and 'Flashdance' was pure crap. His 'Jacobs Ladder' had promise but also didn't have a satisfactory ending. I didn't think I'd ever see a good film of his till I watched 'Indecent Proposal'.

My God is the film a cliche!!! But what an effective one. The film is about a destitute couple[Demi Moore and Woody Harrelson] who accept a wager from a zillionaire[Played by Robert Redford] that Moore will spend one night with Redford for one million dollars. 'Another sleazeball plot from Lyne' I thought but decided to watch it for laughs. But I was surprised.

I was touched by this film. I know its just a cliche from beginning to end but it has life in it. Redford was the perfect pick for the millionaire[I've always considered him to be a bit shifty] and Moore and Harrelson give the best performances possible given the material. The plot is fairly 'daytime soap' stuff and it follows that kind of formula. But Lyne somehow infuses it with life and makes us care. I have to say I was touched by the ending and liked the way it was done[POSSIBLE SPOILER...Moore walking through the fog on a pier, reminding me vividly of 'Requiem for a Dream']. Even their stupid whining and moaning is compelling, in a bizarre way. I did have problems with Moore's relationship with Redford though[does she love him too?] but I didn't seem to care about it sins against logic. At the end, all I could think was ''I actually like an Adrian Lyne film !'. Give its cliches a chance and you may like it too............3 out of 4

Alien 3 (1992)

David's most underrated film......[Possible Spoilers]

[8/10 · 14 October 2002]

Alien3 is a film both wonderful and maddening. Wonderful as it, being the third one in a very famous series and following its ''classic'' brothers, manages to entertain and has an intriguing quality to it as well. Maddening, in that it sometimes has awkward directorial flourishes and has flat scenes balanced with tremendously good ones that make you wonder if this could have been the best in the series. In my opinion, this is the second best in the series[after the original, which IS a masterpiece of the cinema] and the most moody. The alien is the most convincing in this entry[The fourth entries aliens didn't seem to movie in a lifelike manner and seemed blatantly CGI] and Weaver gives her best performance in the entire saga. You see the weariness in her eyes as she faces the creature for the third time and her pain of loss. The third has the best cinematography in the movie: some scenes are shot with this hellish-feeling amber hue that really gets the atmosphere across. The now-classic moment where the alien has Ripley against the wall in the infirmary and seems to nuzzle her is the most disturbing moment in the whole series because its reaction is not what we expect. David Finchers' take on the series is not what we expect either: instead of a guns'n'action movie like the second, or a masterful scare-fest like the first, we get a somber, thoughtful entry that must have been a surprise to some[too surprising in fact as the film was loathed upon release]. He paces the film like a death march[which is what it turns out to be] and has Ripley lose everything she held dear. Some people hated the movie for killing off Hicks and the girl, Newt but I think it is quite daring that Fincher dared to do this. This sets up Ripleys' anguish and allows Weaver to fully develop her character while preparing for the characters possible demise. The ending is very striking and and Elliot Goldenthals music is perfect for the scene, it tugs at your heartstrings. His dark, religious sounding score played over the opening credits really sets the tone. But the film isn't all perfection; the movie's characters seem to have a problem with the English language. They scream profanities at every oppurtunity. This separates us from their characters which are sometimes hard to identify with. Weavers' character swears the most in this one; she also likes to talk in metaphors[''It's like a lion, it likes to stay close to the zebras.'']. But her new character flourishes give the movie its intriguing quality, one quality that stays till the end. People take for granted what Fincher did for this movie. He went in a new direction and got shot down[happens a lot in Hollywood]. This is his most underrated film[after 'The Game' which is surely Finchers masterpiece] and one in the most need of rediscovery........Now............8/10

Altered States (1980)

Ken, use your powers for good...[POSSIBLE SPOILERS]

[6/10 · 13 October 2002]

Ken Russell is a man who is of the ''Lynch, Cronenberg'' category. All three like to direct screwy stories only understandable to them. David Lynch is my favorite director and has made some masterpieces and Cronenberg has done some bravura work[I know this is blasphemy for some but I really admired ''Crash'']. Russell though, still hasn't made his masterpiece. ''Altered States'' is probably his best film but as a whole, isn't a standout. Sure, Russell has his usual assortment of effectively unnerving imagery and flamboyant characters and has a very intriguing plot so why doesn't it work? The characters, though interesting, are slightly repellant[especially Docter Jessup] and the film has a real rotten ending.. Its as if screenwriter Paddy Chayefsky didn't know how to end the movie and decided thought to himself ''Let's get everybody naked and see what happens.'' But what I'd really like to discuss is the imagery. The images are like, as some other comments have suggested, a drug trip. The first ''image journey'' is full of very disturbing religious imagery [multi-eyed goats, burning crosses ] and is very unnerving. It's like the end of Russell's ''Gothic'' with its demons. Another ''image journey'' has what looks like multi-colored bubbles popping; it becomes very hypnotic.. But sadly, by the end, we realize that the story really has nowhere to go and can't develop into something greater. I really thought this might be Russell's masterpiece. Sadly, still looking....................6/10