Kieran Frost's "100 Greatest Films"

[Kieran_Frost]

THE LONG GOODBYE (1973)
dir. Robert Altman
writer. adapted from the novel of the same name by Raymond Chandler
Starring: Elliott Gould, Nina vanPallandt, Sterling Hayden, Mark Rydell and Henry Gibson

“Yeah, I even lost my cat!” ~ Philip Marlowe

ONE LINE SYNOPSIS: 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.

THOUGHTS: 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 the Big Sleep (1946) (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 the Big Sleep -- and, as a fun fact, Star Wars - Episode V: the Empire Strikes Back (1980)).

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.

OVERALL
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.
~ rating: 5 out of 5 [grade: A+]


And before you ask... YES, that is a very early (uncredited) Arnold "the Governator" Schwarzenegger

[Kieran_Frost]

Y TU MAMÁ TAMBIÉN (2001)
director. Alfonso Cuarón
writer. Alfonso & Carlos Cuarón [nom.]
Starring: Maribel Verdú, Gael García Bernal and Diego Luna

ONE SENTENCE SYNOPSIS: a distraught older house wife (Verdú) 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"

THOUGHTS: I’ve been in a very Cuarón mood since his masterpiece Gravity (2013); so bought the film that put him on the map. MAGNIFICENT! This is a very 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 Closely Observed Trains (1966). 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 Closely Observed Trains (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 COT, but less powerful because of it. It's not as good as Gravity or Children of Men (2006); but it's still a fantastic film worth seeing. Maybe don't watch it with family members in the room.

OVERALL
A flashier version of Closely Observed Trains, 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.
~ rating: 4 out of 5 [grade: A-]


-----------------------------------------------------------------------------------------------------------------------------------------------------
ELYSIUM (2013)
written & directed. Neill Blomkamp
Starring: Matt Damon, Jodie Foster, Sharlto Copley and Diego Luna

ONE SENTENCE SYNOPSIS: in the year 2154, an ex-con Max daCosta (Damon) 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.

THOUGHTS: I had a great appreciation for District 9 (2009) when I saw it (though I felt Moon (2009) 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 Blade Runner (1982); and even to a less extent Demolition Man (1993) and Last Action Hero (1993)). And then there is the story... has anyone here played Fallout 2? 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 Chappie (2015) again stars Copley; I won’t be seeing it. Unlike Duncan Jones, Blomkamp seems like a one-trick pony.

OVERALL
Very disappointing sequel to the original District 9; unoriginal and even cliché in parts, with Sharlto Copley performance epitomising the film's failures.
~ rating: 1 out of 5 [grade: D]


-----------------------------------------------------------------------------------------------------------------------------------------------------
MILK (2008) [nom.]
director. Gus van Sant [nom.]
writer. Dustin Lance Black [OSCAR]
Starring: Sean Penn [OSCAR], James Franco, Emile Hirsch, Diego Luna and Josh Brolin [nom.]

ONE SENTENCE SYNOPSIS: the story of political activist Harvey Milk (Penn), the first openly elected gay person to public office in California; who was subsequently assassinated by his rival.

THOUGHTS: 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 Mystic River (2002) 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.

OVERALL
A powerful, uplifting film which ably tackles a mile-stone in LGBT history; with an astounding performance by Sean Penn.
~ rating: 5 out of 5 [grade: A]

[Kieran_Frost]

YOJIMBO (1961)
#95 in Empire magazine's "500 Greatest Films of all Time"
#105 in IMDB's "Top 250"
writer & director. Akira Kurosawa
Starring: Toshirô Mifune, Tatsuya Nakadai, Takashi Shimura and Isuzu Yamada

ONE SENTENCE SYNOPSIS: 1860, a wandering samurai comes across a town torn apart by feud; where his services are sort by both sides, both willing to tear the town apart in their bloody revenge.

THOUGHTS: Sergio Leone's For A Fistful of Dollars (1964) is entirely ripped off this film, down to nearly every plot point (the steel breast plate is Leone invention). It's not hard to see why it translated so perfectly, Kurosawa wrote this film as homage to the westerns of Ford and Huston, which is why Unosuke uses a pistol, not a sword. The problem was Leone's film didn't get the rights for adaptation (nor acknowledged Yojimbo as the source material). At-least there is some justice in the world, For A Fistful of Dollars ranks #233 on IMDB. Anyway... LOVED IT! I'm a big fan of Kurosawa (I've yet to see a single film by him I didn't respect); and with all three of Kurosawa's collaborative leading men in this film (Mifune, Shimura and Nakadai) it was bound to be wonderful. Mifune's comedic and stoic "thirty year old mulberry field", Nakadai's ruthless, but tender gunslinger Unosuke and hats off to Isuzu Yamada as Orin; who previously wowed me as the monstrous Lady Asaji Washizu in Throne of Blood (1957). Here she is on perfect queen b*tch form, and I loved her for it. Honestly the film is pretty much faultless. It was nominated for the Oscar for Best Costume Design (which it thoroughly deserved); but it should have been up for so much more.

OVERALL
AMAZING! It hit all the right buttons, glorious characters, excellent pacing, funny, dramatic, powerful. One of my favourite Kurosawa's I've seen; absolutely wonderful.
~ rating: 5 out of 5 [grade: A]


N.B. VERY tempted to bump out the Good, the Bad and the Ugly (1966) in favour of this; will need to think on it.

My "Kurosawa Ranking"
1. Seven Samurai (1954)
2. Stray Dog (1949)
3. Yojimbo (1962)
4. Throne of Blood (1957)
5. Ran (1985)
6. the Hidden Fortress (1985)
7. Ikiru (1952)
8. Rashomon (1950)
--------------------------------------------------------------------------------------------------------------------------------------------
FOR A FEW DOLLARS MORE (1965)
writer & director. Sergio Leone
Starring: Clint Eastwood, Lee vanCleef, Gian Maria Volonté and Klaus Kinski

ONE SENTENCE SYNOPSIS: two bounty-hunters, working separately, track the vicious leader of a ruthless gang, who has set his sights on the most impregnable of bank in El Paso.

THOUGHTS: Lee vanCleef is almost as fun a hero as he is a villain. The three leads are perfect, each one distinct and colourful in their own way; much like in the Good, the Bad and the Ugly. The score by Leone regular Ennio Morricone is one of my favourites, esp. the tune played by "the Colonel" and "the Indian"'s wrist watches. Much like Once Upon A Time in the West (1968), it's a haunting tune that is integral to the plot of the film. The film is a tad long. After the bank job it should have merrily skipped to the climax, instead it lethargically plays out unnecessarily. It also triggers one of my 'pet peeves' where the numerous villains get whittled down NOT by the hero, but by their own treachery of one another. I get the whole "honour among thieves", but unless it's the Ladykillers (1955), it doesn't work for me.

OVERALL
A wonderfully entertaining, though slightly drawn out, western; where the three leads crackle on screen, and a powerful score that heightens the films tenses scenes. It doesn't have the underlying social commentary of the Good, the Bad and the Ugly, but it's delightfully fun nonetheless.
~ rating: 4 out of 5 [grade: A-]

[Kieran_Frost]

THE BUTLER (2013)
dir. Lee Daniels
writer. Danny Strong
Starring: Forest Whitaker, Ophra Winfrey, David Oyelowo, Cuba Gooding Jr, Lenny Kravitz and Coleman Domingo

ONE LINE SYNOPSIS: the life of one of the White House's longest serving butlers, a man who must be void of politics while the struggle for black Americans unfolds all around him.

THOUGHTS: Hmmmmm... this wasn't good. It tries WAAAAAAAY too hard to be meaningful, throwing way too much into the mix to pull at our heart strings. I don't want to say "Oscar bait"... but yeah... Alcoholism, dead son, affairs, feuding families, racial relations, dead Presidents; everything becomes episodic and depthless by trying to cover too much. A more focused study of one or two would have been far more productive. I found the journey of the eldest son (played by David Oyelowo, the beautifully attractive preacher from the Help (2011)) the most engaging. I wish the film had been about him, because the most powerful moments were his story. The "splicing" of the servants setting up the President's dinner while the black students non-violent protest in a diner echoed the "gestus" of Cabaret (1972) contrasting a frivolous music number with the violent assault on a Jewish citizen by the Nazi thugs. I was very disappointed in Forest Whitaker; he brought so little to the role, many managed to outshine him, despite having far less screen time. David Oyelowo was excellent, and Oprah Winfrey was very good (playing, on one level, a rather unlikeable character). Vanessa Redgrave shone in a 'blink-and-you'll-miss-it" cameo (but she is one of the world's greatest living actresses, so it's not too surprising). This had the potential to be another Forrest Gump (1994), but just never delivered on it's potential (and let's be honest, Forrest Gump isn't even that good). The same story, where we learn much of what happens in Cecil's homelife (with his son and his childhood) in retrospect, though character exposition in dialogue, would have been much more effective; and given Whitaker far meatier moments to shine. Contrasting the "politics is frowned on at the White house" with the dignity of Cecil upholding that code. Think Anthony Hopkins in Remains of the Day (1992).

OVERALL
A weak biopic, trying to cram far too much into the film, resulting in a very uneven, almost hollow film. Some fine performances (esp. David Oyelowo), but ultimately it leaves you sadly emotionless.
~ rating: 2 out of 5 [grade: C-]


This poster is amazing!!!

[Kieran_Frost]

THE LEGO MOVIE (2014)
Co-written & directed. Phil Lord & Christopher Miller
With the voice talents of: Chris Pratt, Elizabeth Banks, Will Ferrell, Will Arnett, Liam Neeson and Morgan Freeman

ONE LINE SYNOPSIS: Emmett Brickowski (Pratt) works in an awesome Lego world, with awesome Lego friends, and an awesome Lego life... until he discovers he's "the Special" who has found the "Piece of Resistance" to stop the "Kragle". EVERYTHING IS NOT AWESOME ANYMORE!

THOUGHTS: despite loving my massive Lego collection when I was younger (and GOD YES I regret giving it away), and despite loving the Lego games (currently obsessed with the Lego Lord of the Rings games, and the Marvel one is EPIC too)... despite all this, I had no interest in seeing this film. Thank-god I stuck it out, it was AWESOME!!! Firstly, the voice talents are first rate. Will Arnett steals it as Batman, but he has the best lines (a perfect fan spoof on Bale's Batman, HILARIOUS); but Elizabeth Banks is perfect (with less instantly funny lines, which she spins into gold). My only complaint was the voice actor for Gandalf (though the Dumbledore one was so funny). OH! And Channing Tatum was sooooo amusing as Superman hating on Green Lantern. Honestly, such a funny film. It takes a little while to get into it, the first 20 minutes seem like the most cliche run-of-the-mill adventure story; but the pay off = oooohh, the pay off is the best. It's moving, it's powerful, it has a wonderful message. I sound like some geeked out fanboy, and maybe I am, but I loved it. It's a delightful distraction, that doesn't try to be some epic Oscar winning film AND YET doesn't coast or settle for middle-of-the-road mediocrity. It rises above the VERY empty concept into something... just wonderful. SEE IT!

OVERALL
This film shouldn't be this good, it just shouldn't. It shouldn't work conceptually, the Lego jokes shouldn't be that funny (certainly not to sustain a movie length), it certainly shouldn't be moving... AH! I almost "feel bad" for giving it such a good score. It shouldn't work, but my god, kudos to Lord & Miller who have spun, what should be a five minute joke, into a really good film. I can't even say it's frivolous and depthless, because it does have a heart at the end, beyond funny Lego jokes. Honestly, see it, you'll be surprised how GOOD this film is... EVERYTHING IS AWESOME!!!
~ rating: 4 out of 5 [grade: B+]

[Kieran_Frost]

WILDE (1997)
dir. Brian Gilbert
writer. adapted from the Pulitzer Prize winning biography by Richard Ellmann
Starring: Stephen Fry, Jude Law, Jennifer Ehle, Tom Wilkinson and Vanessa Redgrave

"I feel like a city that's been under siege for twenty years, and suddenly the gates are thrown open."

~ OSCAR WILDE

ONE SENTENCE SYNOPSIS: following the adult life of poet, playwright and author Oscar Wilde as his dalliances with his sexuality bring him dangerous close to losing everything he holds dear.

THOUGHTS: if only I had the skill to tailor my review to a level of wit as would make Wilde proud... but I can't, so deal with it! I am disappointingly indifferent to the film. While Stephen Fry is the modern world's Oscar Wilde in terms of wit and sophistication, and in many ways he IS perfectly cast... he just doesn't have the acting chops for the full gamete of emotions. He gets the Wilde who is clever, the Wilde who is disarming, charming, the Wilde who is indifferent even... but the Wilde who is broken? The Wilde who is near obsessive in his love? The Wilde who aches, and hurts and yells? No, he (sadly) isn't skilled enough to delve in deep enough and give us a definitive Wilde. The directing is also subpar. Over-the-top and uninspiring (two things Wilde would detest). I've not seen the director's most famous film Tom & Viv (1994), so I can't comment on if this is a blip or "his standard fare." The film isn't that original or inspiring in it's tale either. Wilde goes about seducing many "before they were famous" actors, starting with the then unknown Michael Sheen, moving to Orlando Bloom, Ioan Gruffard and finally ending on Jude Law; while flitting back to his wife and children, narrating "the Selfish Giant" as he goes (it's one of Wilde's short stories that is a parable of Jesus and his crucifixion). I'm not surprised to realise this is the film that launched Jude Law's career; not only is he unspeakable beautiful in it (in AND out of clothes), but he's utterly fantastic. Every moment, every scene he grabs it for all it's worth. Despite how unlikeable Bosie could be, Law gives him a warmth and brokenness... you see why Wilde was inspired to write the Picture of Dorian Grey about this young man (it's criminal Law never got to play him). One of my biggest complaints is the message the film (I can only assume unintentionally) gives about homosexuality. The most sympathetic, understanding and plain wonderful person is Wilde's wife; and too often you feel the subtext is "wouldn't everything have been better if he wasn't gay." We never really feel the solace or comfort he finds in these male/male relationships, it always seems more effort than it's worth. Much like Black Swan (2010) telling us she loves ballet yet never showing it, this film tells us Wilde loves men... but we never see the LOVE part (the lust is covered in spades).

OVERALL
A mediocre biographical film, lacking the flare of Wilde himself. It's comments on homosexuality are inconsistent; but it does have a star making performance from Jude Law (almost a test drive for Dickey Greenleaf in his selfish allure). He steals the show.
~ rating: 3 out of 5 [grade: C]


---------------------------------------------------------------------------------------------------
BLUE VELVET (1986)
#37 in Entertainment Weekley's "100 Greatest Films"
#85 in Empire magazine's "Top 500"
#95 in Variety's "100 Greatest Films"
written & directed. David Lynch [nom.]
Starring: Kyle MacLachlan, Laura Dern, Isabella Rosselini, Dean Stockwell and Dennis Hopper

"See that clock on the wall? In five minutes you are not going to believe what I've told you."

~ JEFFREY BEAUMONT

ONE SENTENCE SYNOPSIS: a young man (MacLachlan) finds a cut off ear in the fields behind his parents, leading him down a dark, obsessive path into the seediest parts of "white picket fence America."

THOUGHTS: Cards on the table: I find David Lynch pretentious. I thought Mulholland Dr. (2001) the biggest pile of pretentious, unnecessary dribble I've seen. I often feel people like Lynch or Aronofsky because they see the 'sledgehammersubtle' imagery (for example Dern and MacLachlan's "confessional" outside a massive lit church... REALLY subtle; oh how brilliant of me to notice such subtlety, I must be a true connoisseur of cinema, go team ME!). On rare occasions Lynch's style works. The "lion roar" during Rosselini and MacLachlan's first sex scene worked (or the rape of the Elephant Man's mother at his death -- the Elephant Man (1980) being the only Lynch film I adore). But mostly it feels arty for the sake of it. Less is more, and his best work (the Elephant Man) displays just that. That is not to say the film is void of positives. Dennis Hopper truly is monstrous, evil beyond evil (but very grounded). Terrifying even. And Dean Stockwell is excellent as the quasi-drag queen drug dealer; so high on his own drugs he can barely open his eyes. But overall it's just very heavy handed, making you pay more attention to the flashy directing than the characters or the story. I think it's fair to say Lynch is not for me.

OVERALL
I really want to just put "pretentious rubbish" and leave it at that, but that is not fair. A simultaneously fascinating and disturbing tale, which tries far too hard on both counts. Less is more, Lynch.
~ rating: 2 out of 5 [grade: D+]

[Kieran_Frost]

QUIZ SHOW (1994) [nom.]
dir. Robert Redford [nom.]
writer. adapted from the memoir Remembering America by Richard Goodwin [nom.]
Starring: Ralph Fiennes, Rob Morrow, John Turturro, Paul Scofield [nom.], Hank Azaria and Martin Scorcese

TAG-LINE: "Fifty million people watched, but no-one saw a thing."

ONE SENTENCE SYNOPSIS: a young Congressional lawyer "Dick" Goodwin (Morrow) explores the "rigged quiz" allegations surrounding the popular American quiz show Twenty One; in particular it's star contestant, Columbia prof. Charles van Doren (Fiennes)

THOUGHTS: I'm honestly tempted to bump out All the President's Men (1976) and put this film in my "Top 100" instead. I never thought I'd find this film so wonderful; but it was beautifully played. There is so much going on (around a relatively simple plot), motivation becomes everything, character is all. Firstly, let's just talk about Paul Scofield. MY GOD! This role, in most actors hands, would be fine but nothing special. He doesn't have any profoundly moving speech or any great breakdown. In many ways it could be entirely forgettable. But Scofield imbues the character with such rich purpose, feelings, ideas and warmth... every scene with him is an absolute joy (and for my money he should have won the Oscar over Martin Landau for Ed Wood (1994)). But to be fair the entire cast is wonderful. I love the sexual tension between van Doren and Goodwin, giving possible motive to why Goodwin is so enraptured with van Doren. Is it lust? Is it jealousy? Is it self loathing? The issue of antisemitism is beautifully played, as is the revenge. His rise was partly due to unsaid or unrealised antisemitism and several of the characters want to punish van Doren for it (specifically punish van Doren, not the men truly behind it), despite the fact van Doren himself wasn't part of it. I'm not explaining it well, it's far more complex than that. Honestly, I have no complaints. It's a perfectly paced, wonderfully acted, gripping character exploration, with issues of society underlining the seemingly "harmless" scandal.

OVERALL
A completely engrossing, complex "uncover a scandal" plot; with obvious echoes of Redford's most famous "scandal" film All the President's Men. It leaves nothing as simple; from undertones of antisemitism, revenge and latent homosexuality, everything is (ironically) built upon what is not said. Paul Scofield is effortlessly brilliant, and the entire cast shine. Honestly, it's faultless.
~ rating: 5 out of 5 [grade: A+]


----------------------------------------------------------------------------------------------------
HOW TO TRAIN YOUR DRAGON 2 (2014)
dir. Dean deBlois
writer. adapted from How to Train Your Dragon by Cressida Cowell
Voice Talent: Jay Baruchel, Cate Blanchett, Gerard Butler, America Ferrera, Jonah Hill, Djimon Hounsou and Kit Harrington

ONE SENTENCE SYNOPSIS: Hiccup (Baruchel) and his dragon Toothless are spending their days mapping out the islands of the world, when they come across a mysterious "Dragon Master" (Blanchett); the last remaining resistance against the fearsome Drago Bludvist (Hounsou).

THOUGHTS: it's an animated film about dragons, who doesn't love that? Also this will have major spoilers in it, so look away now. What impressed me so much about the first film was the lack of "simplicity". Hiccup loses a foot at the end of the first film. It's not magically put back or fooling us into thinking he lost it only to find he didn't. Nope... it's gone! And this film follows suit. Hiccup's mother chose to stay away. She wasn't forced, she made a choice to not return to her child. Hiccup's father dies halfway through. They don't do the whole "you think he's dead but actually just injured" NOPE. He dead! And both situations evoked tears in me; because they were sensitively and respectfully handled. I loved Blanchett's Valka. I loved her awkwardness at talking and interacting, having lived among dragons for so long. I love how her reunion with Stoick isn't easy or comfortable, but unsure and complex. It's a wonderful character to introduce into the franchise (EXCITED for the third). As for the rest, honestly it's just an incredibly well made film. The jokes are fast, always humourous, each character (even the dragons) have their own personality and way of interacting. I suppose the villain is a little 2D, the vast majority of his lines at the end are basically "noooo, nooo, no, no, attack them, why won't it work, no, no" (and repeat). And the alpha dragons fighting was a little "Godzilla" (and that is NEVER a compliment). But ultimately it's a kids film, and it is incredibly entertaining with a lot of heart. It's not Studio Ghibli wonderful, but it's still worthy of great praise.

OVERALL
As bold and heart-felt as the first one, a worthy sequel that manages to avoid all the pitfalls of sequels. The addition of Valka and Eret was excellent; especially Valka's moving (and unusual) backstory. Visually it's... oh just beautiful. An excellent successor; one which gets special praise for outing one of the main cast, becoming one of the very, VERY few mainstream children's animated films to have an LGBT character in it.
~ rating: 4 out of 5 [grade: B+]

[Kieran_Frost]

CLOSE ENCOUNTER OF THE THIRD KIND (1977)
#64 in AFI's "Top 100"
#59 in Empire magazines' "Top 500"
written & directed. Steven Spielberg [nom.]
Starring: Richard Dreyfuss, Teri Garr, Melinda Dillon [nom.] and François Truffaut

"He says the sun came out last night. He says it sang to him."

ONE SENTENCE SYNOPSIS: Indiana electrical Roy Neary (Dreyfuss) comes across mysterious lights in the sky; leading a small group united by the experience on a search for the answer to the unknown mound all etched in their minds.

THOUGHTS: Firstly, let's add a little context. a) Richard Dreyfuss was NOT nominated for this film, because he was nominated (and won) Best Actor for the Goodbye Girl (1977) (and while he is excellent in this, he is INCREDIBLE in the Goodbye Girl). b) This was not nominated for Best Picture or Best Original Screenplay BUT this was the same year Star Wars: A New Hope (1977) was up for the Oscars... and if you think how prejudice (even today) the Academy is against sci-fi/fantasy films, the fact that between them they had 2 nominations for Best Director, 2 for acting (would have been 3, but for the Goodbye Girl), 1 for screenplay, 1 for best picture; and amassed a total of 20 nominations and 7 Oscars... well, frankly I think that achievement outweighs all "missed" opportunities. Also John Williams didn't win for his score (he was nominated), some upstart called John Williams won instead for Star Wars

Anyway, to the film = INCREDIBLE! Hands down, without a shadow of a doubt, this is THE GREATEST film about UFOs and alien encounters in the history of cinema (I don't count Alien (1979) as UFO film, but a horror film). I mean HOW does a film from 1977 have special effect that have aged better, and look more impressive than Matrix: Reloaded (2003)? The entire cast is excellent. I loved Teri Garr in Tootsie (1982), and she was so controlled, loving yet strong in this film. She didn't shout, she rationalised and then made the decision to leave. Equally wonderful is Melinda Dillon in her Oscar nominated performance. My heart broke with joy at the end, as her face conveyed every emotion of motherhood. I have no faults. From the music, to the incredible use of lighting (Vilmos Zsigmond deservedly winning Best Cinematography for his skillful conveyance of the aliens using lighting -- think John Williams' embodiment of the shark in Jaws (1975), simple yet massively effective). An utter masterpiece, and for my money the best directing Spielberg's ever done).

OVERALL
Spielberg's magna opus; a simple, emotional study of what it means to search for where you belong. More mature and nuanced than E.T. the Extra-Terrestrial (1982), with the best ensemble performance I've ever seen from a Spielberg films (though Lincoln (2012) comes close). A truly spectacular film.
~ rating: 5 out of 5 [grade: A++]



N.B. added to my "Top 100"

[Kieran_Frost]

DO THE RIGHT THING (1989)
#96 AFI "Top 100"
writer & director. Spike Lee [nom.]
Starring: Spike Lee, Danny Aiello [nom.], Ruby Dee, Ossie Davis, Samuel L. Jackson and John Turturro

"Doctor, those that'll tell don't know, and those that know won't tell"

~ DA MAYOR

ONE SENTENCE SYNOPSIS: a young black delivery boy, Mookie (Lee) works for a local pizzeria run by Italian America Sal (Aiello), as underlying racial tension builds over one scorching day in Brooklyn.

THOUGHTS: the only Spike Lee film I've seen before now is Inside Man (2006), so I didn't know what to expect. LOVED IT! It felt like a Greek tragedy: taking place over one day, the "chorus" characters chiming in during scenes to give you time to digest, the building to the inevitable over the hamartia (fatal flaw). What Spike Lee does so well is comment WITHOUT commenting. He doesn't take a side, and I feel the final moment where he has two speeches (one by Martin Luther King, one by Malcolm X) contrasting the different viewpoints encapsulates the entire film. "Who's right?" "Whose side am I supposed to be on?" I don't feel Lee makes it clear, he doesn't force you to pick a side, give you the answer or tell you who's actions/reactions were justified or foolhardy, it's up to you to take from it what you can. And that is the best way to tackle such an issue, and the bravest. It makes me frustrated that this wasn't up for Best Picture, but films like Crash (2005) win Best Picture when they give far safer, far less challenging opinions on race and racism. Don't get me wrong, Crash is still good; but it's comment on race/racism is surface level at best. Racism 101, if you will. Frankly, Spike Lee was robbed of a Best Dirctor nomination for this film. How was Jim Sheridan nominated for My Left Foot (1989) over this? The dialogue is so sharp, witty, tragic, intelligent; it gives the actors everything to play with; and the directing is bold and beautiful when needed, simple and clear all other times. Ironically, the film's greatest strength is also it's fatal flaw: Spike Lee. He is not an actor. Much like with Woody Allen; Lee writes this stunning script, creates this beautiful world... and then ruins it by putting himself in the lead, when the role should have gone to an actor who... well, can acting. His physicality is just bad. Almost delayed (his gestures seem to come a beat or two after any natural flow from the dialogue). Other than that, the ensemble* is perfect. Ruby Dee and Ossie Davis (real life husband and wife) were PERFECT as Mother Sister and Da Mayor; the "elders" of "the town", not often involving themselves, but always watching, always knowing. Honestly, I could watch a film about them for hours. I just loved it; pacing, dialogue, performances, concept, metaphor; it all worked. Brilliant!

OVERALL
A masterpiece of writing and directing, with a powerful concept beautifully shot as the Greek tragedy unfolds; sadly let down by a very weak lead performance by Spike Lee.
~ rating: 5 out of 5 [grade: A]



* but GOD, Rosie Perez' voice just grates on you like nails on a granite block. UGH!

[Kieran_Frost]

LA RÉGLE DU JEU (1939) ~ the Rules of the Game ~
#2 in la Figaro's "100 Greatest Films"
#4 in Sight&Sounds "Ten Greatest Films"
#13 in Empire magazines "100 Great Foreign Films"
writer & director. Jean Renoir
Starring: Nora Gregor, Marcel Dalio, Roland Toutain, Paulette Dubost and Jean Renoir

"It may be wrong of them, but they value their lives." ~ ROBERT DE LA CHEYNIEST

ONE SENTENCE SYNOPSIS: the tangled love affairs of a rich, French bourgeois couple begin to unravel as all their guests arrive at their country Chateux for shooting season.

THOUGHTS: I went in expecting a dour, depressing drama with lots of pretentious long camera shots, and faded looks to the heath... BOY, WAS I WRONG!!!! A commercial failure at the time, it's one of the most scathing and unforgiving anti-war films; yet (brilliantly) doesn't reference the war once. The slaughter of the game and the final, emotionless (almost bored) reaction to the murder is merciless in it's critique. So much of the dialogue was so refreshing. The couple talk about their love affairs, they don't throw plates or beat one another; it's frank, it's honest; sometimes romantic sometimes misogynistic. I wish I could convey why the development is so perfect. The film moves along as such a solid trot, not too quick to loose the subtly, nor so slow that you start to grow wiery. First a mob crowding a superstar, then character and plot explode in several perfectly choreographer scenes, into the shoot, into the fancy dress and performances, into the bizarre "game" of the games keeper trying to shoot the poacher; it never lets up. YET finds time to explore everything that need to be said. It truly is a masterpiece, for one paper it sounds mundane, yet seen it breaths life into each shot, each pan, each witty piece of dialogue. A very talented ensemble, with no villain in sight. Hayoa Miyizaki would be proud.

OVERALL
Another utter masterpiece. It's Gosford Park (2001) meets All Quiet on the Western Front (1930); with such harmless joy and profound sadness woven into numerous beautifully crafted, tragi-comedy plots. It feels modern. The pacing, the acting, the style, the daring... everything is ahead of its time. I loved it, utterly, utterly loved it.
~ rating: 5 out of 5 [grade: A]



EDIT - I've decided NOT to add this to my "Top 100", and here's why:
spoilers:

the ending, for me, is flawed. I LOVE the extreme comment on the bourgeois attitude to death (so clearly mirroring the real life attitude to the death of soldiers in WWI). But it felt wrong for the characters. They WOULD react more. And not letting them to "make a point" is insincere. It's like the pie-fight at the end of Dr. Strangelove (1964); it takes you out of the story and character (very Brecht-esq). So while it makes a stronger, more brutal overall point, the film's plot suffers. All Quiet on the Western Front (1930) is able to be BOTH brutal in it's anti-war comment while never compromising character. So it can be done.

end of spoilers

[Kieran_Frost]

PRECIOUS: BASED ON THE NOVEL 'PUSH' BY SAPPHIRE (2009) [nom.]
dir. Lee Daniels [nom.]
writer. Geoffrey Fletcher [OSCAR]
Starring: Gabourey Sidibe [nom.], Mo'Nique [OSCAR], Paula Patton, Lenny Kravitz and Mariah Carey

ONE SENTENCE SYNOPSIS: Harlam, 1987. Sixteen year old Claireece 'Precious' Jones (Sidibe) is overweight and illiterate; having been suspended from school for being pregnant for the second time (by her father), Precious is enrolled in "Each One Teach One", an alternative school run by the kind Ms. Rain (Patton)

"The other day, I cried. But you know what? **** that day.
That's why God, or whoever, makes other days." ~ PRECIOUS

THOUGHTS: this is a hard film at times; very hard to watch. But I love how it doesn't have easy answers, it doesn't have simple choices or resolutions. It's very real, in that regard. Part of me doesn't love the "fantasy" elements (mainly because they stop half-way and never seem to reflect how Precious is feeling, or dreams and desires she has relevant to the script). The performances (meticulously crafted by Lee Daniels) make the movie. From newcomer Sidibe, to Mo'Nique's career defining (and Oscar winning) performance. Everyone shines. Mariah Carey should do more acting roles, she's so good (so believable, and low-key and relaxed). And Lenny Kravitz again impresses me (though again the role isn't a huge stretch, he still does it with poise and comfort). This is an important film in black cinema history. Lee Daniels becomes the second ever black director to be nominated for Best Director and Geoffrey Fletcher became the first black writer to win an Oscar for writing. The whole film is visceral and brutal BUT (surprisingly) gives you hope by the end; not a "Hollywood ending"; but honest hope for a better tomorrow.

OVERALL
A powerful film; that surprisingly brings warmth to even the darkest of places. A strong ensemble, and cliche free script make this incredibly enjoyable (though hard going at times). Strong ensemble work from everyone involved.
~ rating: 4 out of 5 [grade: A-]

[simbob4000]

OVERALL
A powerful film; that surprisingly brings warmth to even the darkest of places. A strong ensemble, and cliche free script make this incredibly enjoyable (though hard going at times). Strong ensemble work from everyone involved.
~ rating: 4 out of 5 [grade: A-]

I don't think you can say that movie is cliché free. The movie does have a scene in which Precious: Based on the Novel Push by Sapphire steal fried chicken and then runs off eating it while seemingly wiping it on her face.

[StrongStyleSpirit]

No Goodfellas? Godfather? ET? What is this!?

[Kieran_Frost]

Genuinely surprised that Apocalypse Now! hasn't got a single vote. I assumed it would be leading, personally. #themoreyouknow

I don't think you can say that movie is cliché free. The movie does have a scene in which Precious: Based on the Novel Push by Sapphire steal fried chicken and then runs off eating it while seemingly wiping it on her face.

Originally there was more to that sentence, expressing that this is a "through adversity, with help and love, someone rises above their hardship" tale... and for such a tale, it's cliché free (in the sense of the clichés of that type of film). If that makes sense?

No Goodfellas? Godfather? ET? What is this!?

The Godfather is in there. I personally don't like Goodfellas (I call it a "straight man's movie"); and the acting by the kids in E.T. (for me) lets down the film.

[simbob4000]

What are you doing? Don't hashtag outside of twitter.

What the hell is a "straight man's movie"? And how isn't The Godfather also that?