Another Altman Masterpiece...
[B][SIZE=3]THE[/SIZE] [SIZE=4]LONG GOODBYE[/SIZE][/B] [SIZE=3](1973)[/SIZE]
[I]dir[/I]. Robert Altman
[I]writer[/I]. adapted from the novel of the same name by Raymond Chandler
[I]Starring[/I]: Elliott Gould, Nina vanPallandt, Sterling Hayden, Mark Rydell and Henry Gibson
[CENTER][I]“Yeah, I even lost my cat!”[/I] ~ Philip Marlowe[/CENTER]
[I]ONE LINE SYNOPSIS:[/I] private detective Philip Marlowe (Gould) is arrested after driving his friend to Tijuana; now he is caught up in murder, suicide and a whole lot of mob money... and all he wanted to do was feed his cat.
[I]THOUGHTS:[/I] There is something so appealing about this film. It opens with a man asleep while a blue movie plays. It’s 3am and he’s woken by his cat for food. But he has no cat food (at least not the kind his cat will eat), and therefore heads to the all night 7/11 to get some. All the while “the Long Goodbye” (a song composed by a young John Williams for the film) plays through-out (first on his car radio – sung by a woman; spliced with another version – sung by a man – on the car radio of a soon to be important character; and final an instrumental version ricochets across the store). What an opening! It sets the tone perfectly, and from that moment I was hooked.
The protagonist is the very same Philip Marlowe from [I]the Big Sleep[/I] [SIZE=1](1946)[/SIZE] (SEE: post #12); and boy are they different. Bogart is smooth and cool in his detachment from society; where as Gould is a clown living in a world outside society. This film is a vicious critique of society (esp. Hollywood). From the Hemingway alcoholic, to the mobsters copying the movies, to the “hospital for the rich”. Everyone is selfish, vapid and shallow (save Marlowe). Even the seemingly harmless lesbian hippie neighbours… all we see them do is smoke, sponge, not contribute. They maybe harmless, but Altman is still taking a swipe at them (at that kind of Hollywood personality). Interesting the script is adapted from Chandler's novel by Leigh Brackett (who was ALSO the screenwriter for Bogart's [I]the Big Sleep[/I] -- and, as a fun fact, [I]Star Wars - Episode V: the Empire Strikes Back[/I] [SIZE=1](1980)[/SIZE]).
I think I need to sleep on this one to decide if I want to add it to my “Top 100”. It is fantastic, a slow build (in a good way), with moments of violence (be it physical or emotional). The whole cast is solid, but I tip my hat to Sterling Hayden as the troubled alcoholic writer Robert Wade. It’s not easy being that level of drunk, without letting it slip into caricature; and he is both terrifying yet compelling and warm. Really my only critique (and it’s such a minor one)… Elliott Gould does NOT run well. Arms flayling, like a baby swan trying to take off.
[U]OVERALL[/U]
An engaging and original neo-noir film from master of cinema Robert Altman. Unlike most film noirs, this isn’t about the shadows or Venetian blinds, but the mentality of sickness lying under a seemingly pleasant and harmless world. A fantastic film; one very much worth seeing.
~ [I]rating:[/I] [B]5 out of 5[/B] [SIZE=1][[I]grade:[/I] [B]A+[/B]][/SIZE]
[IMG]https://lh5.googleusercontent.com/-1HNM3MQet88/TWpEpzZzvfI/AAAAAAAAAIY/Kn-J7CiMiMI/s1600/932The_Long_Goodbye_1973_.png[/IMG]
[SIZE=1]And before you ask... YES, that is a very early (uncredited) Arnold "the Governator" Schwarzenegger[/SIZE]
Randomly... three films that all star Diego Luna...
[B][SIZE=4]Y TU MAMÁ TAMBIÉN[/SIZE][/B] (2001)
[I]director[/I]. Alfonso Cuarón
[I]writer[/I]. Alfonso & Carlos Cuarón [SIZE=1][nom.][/SIZE]
[I]Starring[/I]: Maribel Verdú, Gael García Bernal and Diego Luna
[I]ONE SENTENCE SYNOPSIS:[/I] a distraught older house wife [SIZE=1](Verdú)[/SIZE] spontaneously decides to go on a road trip with two young men at the threshold of adulthood, to a secluded beach called "Heaven's Mouth"
[I]THOUGHTS:[/I] I’ve been in a very Cuarón mood since his masterpiece [I]Gravity[/I] [SIZE=1](2013);[/SIZE] so bought the film that put him on the map. MAGNIFICENT! This is a [U]very[/U] sexual film, but Cuarón has such fun with it. It's not all "sexy" (in fact very little is), it's comical, it's sad, it's basic and raw; it's actually the best film I've seen about boys becoming men since [I]Closely Observed Trains[/I] [SIZE=1](1966)[/SIZE]. From cum splattering into the pool, to naked showers, and premature ejaculation... it's just so well observed. Kudos to all the actors involved for commitment to the nudity and the sexual nature of the story. The greatest selling point is Cuarón's directing. My god, that man deserved his Oscar. Every shot, every moment is so inventive and just a joy to watch. His trademark long camera shots, single take scenes and elaborate story motion is all here. The story is very strong, the dialogue hilarious... the "shock revelation" was a little too signposted, but that's a minor quibble. I have to praise Maribel Verdú's performance, she has the most complex character, and eagerly throws herself into the role (but everyone is good, and Gael García Bernal is just distractingly beautiful). Much like [I]Closely Observed Trains [/I](which truthfully does it better), the protagonists blossoming sexuality is mirrored by the political upheaval going on in the country at the same time. It's more bitter sweet than [I]COT[/I], but less powerful because of it. It's not as good as [I]Gravity[/I] or [I]Children of Men[/I] [SIZE=1](2006)[/SIZE]; but it's still a fantastic film worth seeing. Maybe don't watch it with family members in the room.
[U]OVERALL[/U]
A flashier version of [I]Closely Observed Trains[/I], with first rate directing and writing, and strong performances; a film bursting with sexuality, but in a frank, honest way that you can't help but adore it.
~ [I]rating:[/I] [B]4 out of 5[/B] [SIZE=1][[I]grade:[/I] [B]A-[/B]][/SIZE]
[IMG]http://revistabe.com/wp-content/uploads/2014/05/y-tu-mama-tambien-gael-garcia-bernal.jpg[/IMG]
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[SIZE=4][B]ELYSIUM[/B][/SIZE] (2013)
[I]written & directed[/I]. Neill Blomkamp
[I]Starring[/I]: Matt Damon, Jodie Foster, Sharlto Copley and Diego Luna
[I]ONE SENTENCE SYNOPSIS:[/I] in the year 2154, an ex-con Max daCosta [SIZE=1](Damon)[/SIZE] lives in the slums of Los Angeles; but after he is poisoned and given only a few days to live, his one hope is the perfect medicine in the perfect community of the perfect space station: Elysium.
[I]THOUGHTS:[/I] I had a great appreciation for [I]District 9[/I] [SIZE=1](2009)[/SIZE] when I saw it (though I felt [I]Moon[/I] [SIZE=1](2009)[/SIZE] was more deserving of that surprise Best Picture nominations in the ‘low-budget yet intelligent sci-fi’ category); so I was looking forward to the next instalment; especially with the likes of Matt Damon and Jodie Foster in the mix. Alas two of the biggest problems from the first (Sharlto Copley’s limits in terms of acting and a very one-note “evvvvvil, mwwwhahaha, I love to hurt things” villain) seem to culminate into one giant problem (which you would think decreases the failings, but no). Add to that a massively cliché second half (I mean come on: a politician bringing forth a violent criminal as his pawn to then have the pawn become the master has been done far better in [I]Blade Runner[/I] [SIZE=1](1982)[/SIZE]; and even to a less extent [I]Demolition Man[/I] [SIZE=1](1993)[/SIZE] and [I]Last Action Hero[/I] [SIZE=1](1993)[/SIZE]). And then there is the story... has anyone here played [I]Fallout 2[/I]? Basically the contrast between the two worlds of Vault City (i.e. those in the city, and those just outside) is ALL the film offers (and in a much less enjoyable way). But hands down the greatest blame lies with Copley. He was just BAD in this film; his motives were irrelevant and his acting poor. The film also lacks the complexity of the social commentary found in the first; with obvious “metaphors” being hammered into our brains with all the subtly of Copley’s manic laugh (I REALLY didn’t like him). And what was with Jodie Foster’s half Affffrikaan/half clipped English then somewhat American accent? It came and went almost as much as she did. What could have been a great film quickly became a mediocre film, and by the end it was just a bad film. Seeing that his next film [I]Chappie[/I] [SIZE=1](2015) [/SIZE]again stars Copley; I won’t be seeing it. Unlike Duncan Jones, Blomkamp seems like a one-trick pony.
[U]OVERALL[/U]
Very disappointing sequel to the original [I]District 9[/I]; unoriginal and even cliché in parts, with Sharlto Copley performance epitomising the film's failures.
~ [I]rating:[/I] [B]1 out of 5[/B] [SIZE=1][[I]grade:[/I] [B]D[/B]][/SIZE]
[IMG]http://www.liveforfilms.com/wp-content/uploads/2013/04/Elysium-Jodie-Foster1.jpg[/IMG]
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[B][SIZE=4]MILK[/SIZE][/B] (2008) [SIZE=1][nom.][/SIZE]
[I]director[/I]. Gus van Sant [SIZE=1][nom.][/SIZE]
[I]writer[/I]. Dustin Lance Black [SIZE=1][OSCAR][/SIZE]
[I]Starring[/I]: Sean Penn [SIZE=1][OSCAR], [/SIZE]James Franco, Emile Hirsch, Diego Luna and Josh Brolin [SIZE=1][nom.][/SIZE]
[I]ONE SENTENCE SYNOPSIS:[/I] the story of political activist Harvey Milk [SIZE=1](Penn),[/SIZE] the first openly elected gay person to public office in California; who was subsequently assassinated by his rival.
[I]THOUGHTS:[/I] I’ve never been a massive fan of biographies trying to span too long a time frame; purely because so much becomes anecdotes rather than character studies. The film mostly avoids these pitfalls; though devout focus on Milk’s life after his 40th birthday (though this does mean most other characters only get a cursory glance or even an absence of existence outside of Milk’s gravitational pull). Sean Penn gives a tour-de-force performances, possibly his best to-date. He embodies everything about Milk; convincing in all mannerisms, never becoming a caricature, while still portraying a more effeminate gay male. He is ably supported by a stunningly attractive James Franco; but this is Penn’s film, and no other actor manages to draw your eye. And oddly it’s not over-played. The raw, hurricane of emotion we saw in Penn’s first Oscar winning performance in [I]Mystic River[/I] [SIZE=1](2002)[/SIZE] is replaced by a more contained, controlled level of energy and feelings. It’s a beautiful thing to watch; and Penn deservedly beat Mickey Rourke to Best Actor at the Oscars. Gus vant Sant’s directing perfectly melds real-life footage with a “dated” style of camerawork, this films often feels like it was made back in the 70s (which makes it feel more alive and “now”). Despite being released to coincide with the vote of Prop 8, I’m please the film never laboured this or forced you to see the parallels. It lets the story speak for itself; how you take that in the context of modern society is your decision.
[U]OVERALL[/U]
A powerful, uplifting film which ably tackles a mile-stone in LGBT history; with an astounding performance by Sean Penn.
~ [I]rating:[/I] [B]5 out of 5[/B] [SIZE=1][[I]grade:[/I] [B]A[/B]][/SIZE]
[IMG]http://www.movpins.com/big/MV5BMTM3MTg4Mzk1N15BMl5BanBnXkFtZTcwMTY4NDAyNw/still-of-james-franco-in-milk-%282008%29-large-picture.jpg[/IMG]