I watched this film last night and was very disappointed. The direction was flat and the acting was average. The reason why I thought that the acting was so sub-par was that it seemed terribly obvious that the actors were acting, particularly the biker gang (I couldn't imagine a less intimidating gang of bikers). Marlon Brando wasn't bad, but he wasn't great either. I can see why this film has a minor cult following but for me it was cheesy and had cardboard cut-out characters. Its not a terrible film and its not boring (I'll grant the fact that it does have some entertainment value), its just not that good either. I'd say its ever so slightly above average. 6 out of 10.
Reviews
10 Reviews
Sleepy Hollow
(1999)
A Fun and Visually Fantastic Homage to Hammer
8 November 2001
Written around the time of the film's release in Philadelphia, PA, my senior year of high school.
About two weeks before Tim Burton's latest film, Sleepy Hollow, was released, my friend, Dan (SJP '99), informed me that he had four free passes to a sneak preview and asked if I'd like to go. Having greatly anticipated this film since I had heard rumors of it almost a year before I had no trouble deciding whether or not I wanted to go. So one Thursday night, a week before its actual release, I sat in the theater and enjoyed the cinematic feast that was set before my eyes.
Sleepy Hollow is very loosely based on the Washington Irving short story, The Legend of Sleepy Hollow. Instead of being a meek and somewhat dim school teacher, Ichabod Crane is now a wimpy constable from New York City, sent to the small town of Sleepy Hollow to investigate a series of beheadings. The story itself is more complex, offering us insight into the history of the infamous Headless Horseman, introducing new characters, and incorporating a mystery involving scandal and witchcraft. Despite it being so far fetched from the original masterwork, however, I still managed to enjoy the story for what it was rather than focusing on the changes made.
As one would expect from a Tim Burton film, the visuals are astoundingly rich with fantastic detail and from the "painted" backdrops to the windmill scene nearing the end of the film, one can clearly see how he tried to model his film after the famous Hammer horror films of the 60s and 70s. Hammer Studios, a company based in Great Britain, was known for making horror films rich in artistic detail and mostly excellent performances (such as The Horror of Dracula and The Vampire Lovers). They were not, however, acknowledged for finely wrought plots, satisfying character development, and brilliant scripts. Burton succeeds in paying homage to Hammer in these aspects as well, though not, surprisingly, to negative effect.
Upon seeing previews for Sleepy Hollow, one would reasonably assumed that it is a very serious horror film, but in actuality it is almost completely tongue-in cheek and has a wonderfully dark sense of humor. Adding to this somewhat campy effect is the apparent glee Burton took in beheading the film's characters. As the tagline goes, heads certainly do roll and there is plenty of excessive gore to show it. It is all in good fun, though, as the blood is sometimes so ridiculously unnecessary that it can hardly be taken seriously (which was certainly the director's intended effect). It seemed that the dialogue was, at times, purposefully over-dramatic, and probably with the same reasoning in mind.
The performances fit right in with the rest of the film, which is not to say that they were bad. Johnny Depp, as the uptight, "man of reason" version of Ichabod, gives another excellent performance, as do the rest of the case (including Burton veterans Jeffrey Jones, as the town minister, and Christopher Walken, as, in a brilliant bit of casting, the Headless Horseman). Christina Ricci, in her role as love interest, Katrina Van Tassel, seems to stand out as part of Burton's cinematic nod to the Hammer Horror company. In those films, they would often employ beautiful, blonde women to act as the female leads. The only problem with them was that they were usually Swedish or, in one case, Polish, and had to learn a British accent for the film they were in, thus explaining their less than flawless British voices. Hopefully, this is a good explanation for why Ms. Ricci's accent got progressively better throughout the course of the film. On an extra note, the great Hammer staple, Christopher Lee, appears in a cameo as the judge that sends Ichabod to Sleepy Hollow.
Overall, the only two disappointments in the film were the score and the lack of character development. The score itself was fine and suited the film well, but having heard what Danny Elfman is capable of (just listen to his scores for Beetlejuice and Edward Scissorhands), it seemed very generic. Every once and a while you do hear some bizarre moments of tense strings suited perfectly to the film's off-beat tone, but they are few and far between. In terms of character development, Ichabod is the focus of the film from beginning to end, and since action is such a key element to the film, there is little time for anyone else to make an impression.
Tim Burton's latest work is certainly a masterpiece in terms of visuals and entertainment value, and its dream-like tone, filled with the brilliant Gothic imagery we have all come to expect does not disappoint.
About two weeks before Tim Burton's latest film, Sleepy Hollow, was released, my friend, Dan (SJP '99), informed me that he had four free passes to a sneak preview and asked if I'd like to go. Having greatly anticipated this film since I had heard rumors of it almost a year before I had no trouble deciding whether or not I wanted to go. So one Thursday night, a week before its actual release, I sat in the theater and enjoyed the cinematic feast that was set before my eyes.
Sleepy Hollow is very loosely based on the Washington Irving short story, The Legend of Sleepy Hollow. Instead of being a meek and somewhat dim school teacher, Ichabod Crane is now a wimpy constable from New York City, sent to the small town of Sleepy Hollow to investigate a series of beheadings. The story itself is more complex, offering us insight into the history of the infamous Headless Horseman, introducing new characters, and incorporating a mystery involving scandal and witchcraft. Despite it being so far fetched from the original masterwork, however, I still managed to enjoy the story for what it was rather than focusing on the changes made.
As one would expect from a Tim Burton film, the visuals are astoundingly rich with fantastic detail and from the "painted" backdrops to the windmill scene nearing the end of the film, one can clearly see how he tried to model his film after the famous Hammer horror films of the 60s and 70s. Hammer Studios, a company based in Great Britain, was known for making horror films rich in artistic detail and mostly excellent performances (such as The Horror of Dracula and The Vampire Lovers). They were not, however, acknowledged for finely wrought plots, satisfying character development, and brilliant scripts. Burton succeeds in paying homage to Hammer in these aspects as well, though not, surprisingly, to negative effect.
Upon seeing previews for Sleepy Hollow, one would reasonably assumed that it is a very serious horror film, but in actuality it is almost completely tongue-in cheek and has a wonderfully dark sense of humor. Adding to this somewhat campy effect is the apparent glee Burton took in beheading the film's characters. As the tagline goes, heads certainly do roll and there is plenty of excessive gore to show it. It is all in good fun, though, as the blood is sometimes so ridiculously unnecessary that it can hardly be taken seriously (which was certainly the director's intended effect). It seemed that the dialogue was, at times, purposefully over-dramatic, and probably with the same reasoning in mind.
The performances fit right in with the rest of the film, which is not to say that they were bad. Johnny Depp, as the uptight, "man of reason" version of Ichabod, gives another excellent performance, as do the rest of the case (including Burton veterans Jeffrey Jones, as the town minister, and Christopher Walken, as, in a brilliant bit of casting, the Headless Horseman). Christina Ricci, in her role as love interest, Katrina Van Tassel, seems to stand out as part of Burton's cinematic nod to the Hammer Horror company. In those films, they would often employ beautiful, blonde women to act as the female leads. The only problem with them was that they were usually Swedish or, in one case, Polish, and had to learn a British accent for the film they were in, thus explaining their less than flawless British voices. Hopefully, this is a good explanation for why Ms. Ricci's accent got progressively better throughout the course of the film. On an extra note, the great Hammer staple, Christopher Lee, appears in a cameo as the judge that sends Ichabod to Sleepy Hollow.
Overall, the only two disappointments in the film were the score and the lack of character development. The score itself was fine and suited the film well, but having heard what Danny Elfman is capable of (just listen to his scores for Beetlejuice and Edward Scissorhands), it seemed very generic. Every once and a while you do hear some bizarre moments of tense strings suited perfectly to the film's off-beat tone, but they are few and far between. In terms of character development, Ichabod is the focus of the film from beginning to end, and since action is such a key element to the film, there is little time for anyone else to make an impression.
Tim Burton's latest work is certainly a masterpiece in terms of visuals and entertainment value, and its dream-like tone, filled with the brilliant Gothic imagery we have all come to expect does not disappoint.
Rushmore
(1998)
Refreshingly Original
8 November 2001
Written for my high school weekly news supplement my junior year.
Rarely in this age of blockbuster films does there come along a film that is so original, so widely appealing that it just fascinates you. A film so well rounded and interesting that you sit in the theater after the film is done to think about what you've just witnessed. One such film is Rushmore, starring Jason Schwartzman, Bill Murray, and Olivia Williams.
Rushmore is an extremely well written movie about obsessive love. It tells the story of Max Fischer (Schwartzman), who is a sophomore at the elitist Rushmore Academy, and is so absorbed in his extracurricular activities that he is in danger of failing out. One day Max hears a speech by Mr. Blume (Murray), a wealthy businessman who has sons attending Rushmore, and they almost immediately befriend each other. This oddball relationship between the lonely tycoon and the over-optimistic teenager begins to grow, but then Max discovers a beautiful young widow named Miss Cross (Williams) teaching first grade. Max becomes very attached to her, but of course she is not as attracted to him, and things get more complicated when Max introduces Mr. Blume to Miss Cross. I'll leave it at that.
The acting is a quality of Rushmore that contributes greatly to its appeal. I've seen a lot of Bill Murray movies, an I've always had a high opinion of him. Saying that Bill Murray is good in a movie usually means that he was really funny (which, with a few exceptions, goes without saying). In this film, though, there is something more to his performance. With his facial expressions alone capturing the tortured soul of Mr. Blume accompanied by his impeccable comic timing, Murray is plainly terrific. Jason Schwartzman is also outstanding as Max, although his appearance shows more years than the mere 15 he is supposed to be. Olivia Williams is subtle and extremely effective as the British object of affection. Finally, in a key role as Max's chapel partner, Dirk Calloway, Mason Gamble (from Dennis the Menace), convey's his bitterness and anger with such acuity and humor that one can't imagine that there he is actually acting in front of a camera.
The humor of Rushmore is so delightfully offbeat, hilarity sometimes being found in such places as silent pauses with the camera directed right at the actor's face, that it might not be for every taste (but be sure to give it a try first). In fact, everything about this movie is different. I've seen this film twice and from the surreal use of really vivid colors to the quick-paced direction by the obviously very talented Wes Anderson, it seems destined to have cult status in the future. Finally, I would like to mention the soundtrack, a compilation of primarily British "invasion" rock (along with a brilliant original score), for it almost perfectly captures the spirit and life of this amazing achievement.
Rarely in this age of blockbuster films does there come along a film that is so original, so widely appealing that it just fascinates you. A film so well rounded and interesting that you sit in the theater after the film is done to think about what you've just witnessed. One such film is Rushmore, starring Jason Schwartzman, Bill Murray, and Olivia Williams.
Rushmore is an extremely well written movie about obsessive love. It tells the story of Max Fischer (Schwartzman), who is a sophomore at the elitist Rushmore Academy, and is so absorbed in his extracurricular activities that he is in danger of failing out. One day Max hears a speech by Mr. Blume (Murray), a wealthy businessman who has sons attending Rushmore, and they almost immediately befriend each other. This oddball relationship between the lonely tycoon and the over-optimistic teenager begins to grow, but then Max discovers a beautiful young widow named Miss Cross (Williams) teaching first grade. Max becomes very attached to her, but of course she is not as attracted to him, and things get more complicated when Max introduces Mr. Blume to Miss Cross. I'll leave it at that.
The acting is a quality of Rushmore that contributes greatly to its appeal. I've seen a lot of Bill Murray movies, an I've always had a high opinion of him. Saying that Bill Murray is good in a movie usually means that he was really funny (which, with a few exceptions, goes without saying). In this film, though, there is something more to his performance. With his facial expressions alone capturing the tortured soul of Mr. Blume accompanied by his impeccable comic timing, Murray is plainly terrific. Jason Schwartzman is also outstanding as Max, although his appearance shows more years than the mere 15 he is supposed to be. Olivia Williams is subtle and extremely effective as the British object of affection. Finally, in a key role as Max's chapel partner, Dirk Calloway, Mason Gamble (from Dennis the Menace), convey's his bitterness and anger with such acuity and humor that one can't imagine that there he is actually acting in front of a camera.
The humor of Rushmore is so delightfully offbeat, hilarity sometimes being found in such places as silent pauses with the camera directed right at the actor's face, that it might not be for every taste (but be sure to give it a try first). In fact, everything about this movie is different. I've seen this film twice and from the surreal use of really vivid colors to the quick-paced direction by the obviously very talented Wes Anderson, it seems destined to have cult status in the future. Finally, I would like to mention the soundtrack, a compilation of primarily British "invasion" rock (along with a brilliant original score), for it almost perfectly captures the spirit and life of this amazing achievement.
The Last Broadcast
(1998)
A Good Film
8 November 2001
Written for my high school newspaper my senior year.
A few years ago, Lance Weller and Stefan Avalos were sitting around and from their ennui came the idea that they make an inexpensive movie. They had less than a thousand dollars to spend, but they also had advanced digital camera equipment that was sufficient for their film. Eventually the product developed from that idea was an independent, documentary-style horror film with plenty of home-video shots of camp-sites, and people running around the woods at night. Does that sound familiar? It should.
While The Last Broadcast was made before the much more famous Blair Witch Project, the difference in their success was the distribution. When distributors approached Avalos and Weller asking for permission to distribute their film, the directors rejected the offers because they wanted to change the movie (either by removing parts of it or changing the title). Instead they opted to distribute it themselves and now it has been all over the world, winning many awards along the way, and even gaining the recognition of being both the first full-length film to be digitally broadcast in a movie theater and over the internet. It had a one week run at the International House in Philadelphia when it was first released, right before it went to Belgium and the Cannes Film Festival among other places.
In terms of whether or not the makers of The Blair Witch Project stole their idea, it is known that those directors did see The Last Broadcast in Florida over a year ago. Avalos and Weller, whom I had the chance to speak with when I saw the movie during its special run in Doylestown recently, said they have gotten many calls from lawyers encouraging them to sue but "are working on current projects and in general have better things to do." They were very down-to-earth, and even showed my friend and me the projection room where the small digital projector, which resembled your typical CPU and contained the movie on its hard drive, stood next to the giant movie reels used to show regular films.
The basic plot of The Last Broadcast involves four men (two of whom are Avalos and Weller), from a cable access television show called Fact or Fiction, going into the Pine Barrens of New Jersey hoping to catch a glimpse of the infamous Jersey Devil on camera. One of the men gets out of the forest alive, a very eccentric recluse who went on the trip because he claimed to know the whereabouts of the Jersey Devil, and of course he is accused of murdering the other three. The whole film is told in a compelling documentary style that presents the facts of the case, the police investigation into the murders, Suerd's trial, and the documentarian's (David Beard) view of who really committed the murders. All of the interviews and "factual" information are interwoven with "actual" footage that was taken by the four members of the crew before their brutal murders, and all of it flows together seamlessly until the disturbing and astonishing conclusion. Throughout the movie, the familiar Pine Barrens provide a grim backdrop.
As opposed to the very simplistic Blair Witch Project, The Last Broadcast is a very complex jigsaw puzzle with finely drawn characters, an excellent and wholly believable mystery, and an equally shocking, if not more satisfying, conclusion. Broadcast is also provocative in that it serves as a mind-opening commentary on the news media's manipulation of the facts (usually to create an agreed upon truth for the public to accept) as well as the ludicrousness of the tabloid media.
Destined for cult status with its nine hundred dollar budget, The Last Broadcast is excellent, and certainly one of the most original and well structured films I've seen. Before Thanksgiving the film will be on VHS and DVD at video stores, and it will be shown on HBO several times in the coming months.
A few years ago, Lance Weller and Stefan Avalos were sitting around and from their ennui came the idea that they make an inexpensive movie. They had less than a thousand dollars to spend, but they also had advanced digital camera equipment that was sufficient for their film. Eventually the product developed from that idea was an independent, documentary-style horror film with plenty of home-video shots of camp-sites, and people running around the woods at night. Does that sound familiar? It should.
While The Last Broadcast was made before the much more famous Blair Witch Project, the difference in their success was the distribution. When distributors approached Avalos and Weller asking for permission to distribute their film, the directors rejected the offers because they wanted to change the movie (either by removing parts of it or changing the title). Instead they opted to distribute it themselves and now it has been all over the world, winning many awards along the way, and even gaining the recognition of being both the first full-length film to be digitally broadcast in a movie theater and over the internet. It had a one week run at the International House in Philadelphia when it was first released, right before it went to Belgium and the Cannes Film Festival among other places.
In terms of whether or not the makers of The Blair Witch Project stole their idea, it is known that those directors did see The Last Broadcast in Florida over a year ago. Avalos and Weller, whom I had the chance to speak with when I saw the movie during its special run in Doylestown recently, said they have gotten many calls from lawyers encouraging them to sue but "are working on current projects and in general have better things to do." They were very down-to-earth, and even showed my friend and me the projection room where the small digital projector, which resembled your typical CPU and contained the movie on its hard drive, stood next to the giant movie reels used to show regular films.
The basic plot of The Last Broadcast involves four men (two of whom are Avalos and Weller), from a cable access television show called Fact or Fiction, going into the Pine Barrens of New Jersey hoping to catch a glimpse of the infamous Jersey Devil on camera. One of the men gets out of the forest alive, a very eccentric recluse who went on the trip because he claimed to know the whereabouts of the Jersey Devil, and of course he is accused of murdering the other three. The whole film is told in a compelling documentary style that presents the facts of the case, the police investigation into the murders, Suerd's trial, and the documentarian's (David Beard) view of who really committed the murders. All of the interviews and "factual" information are interwoven with "actual" footage that was taken by the four members of the crew before their brutal murders, and all of it flows together seamlessly until the disturbing and astonishing conclusion. Throughout the movie, the familiar Pine Barrens provide a grim backdrop.
As opposed to the very simplistic Blair Witch Project, The Last Broadcast is a very complex jigsaw puzzle with finely drawn characters, an excellent and wholly believable mystery, and an equally shocking, if not more satisfying, conclusion. Broadcast is also provocative in that it serves as a mind-opening commentary on the news media's manipulation of the facts (usually to create an agreed upon truth for the public to accept) as well as the ludicrousness of the tabloid media.
Destined for cult status with its nine hundred dollar budget, The Last Broadcast is excellent, and certainly one of the most original and well structured films I've seen. Before Thanksgiving the film will be on VHS and DVD at video stores, and it will be shown on HBO several times in the coming months.
Life Is Beautiful
(1997)
One of the warmest, love-filled films I've ever seen.
8 November 2001
Written for my high school's weekly new supplement my junior year.
I saw the Italian masterpiece Life is Beautiful twice before Thanksgiving and after I saw it I recommended it to just about everyone who crossed my path. Unlike the last brilliant film I reviewed, Rushmore, this film should certainly be enjoyed by everyone, as it is as worldly a movie as you can get. To say it is about this Holocaust is a gross understatement, for put together with the rest of the story which focuses on love, life, and love of life it almost serves as a background.
The first half of this very different film by virtuoso writer, director, star Roberto Benigni is complete comedy. It portrays the enamored main character, a life-loving Italian Jew named Guido, chasing after the woman of his dreams, Dora (Benigni's real-life wife, Nicoletta Braschi), who is about to be forced into an unhappy marriage. The comedy is so pure, even if you don't enjoy some of the slapstick you cannot help be taken in by the heart that is at it source. Eventually, through a series of hilarious coincidences, he wins Dora over, and together they have a son, Joshua (Giorgio Cantarini).
Throughout the first half of the film, the audience catches glimpses of the evil that lies below the thick layer of humor and warmth. It is World War II, and the Fascist regime is growing in Italy, and through a sign here and anti-Semitic comment there we get the picture of what is going on. On Joshua's fifth birthday, he and Guido are taken away to a concentration/work camp in Italy. Trying to save her family, Dora, who is part of a prominent Italian family and not to be touched by the Fascists, begs to be placed on the train and gets her wish, only to be separated to a special women's camp. Innocent Joshua, though, wants to know what is going on, and Guido explains to him that this is a big trip that he has planned for Joshua's birthday. The rest of the film shows the different ways in which Guido convinces his son that the camp is all a game, and if you score one thousand points (for such things as good behavior, being quiet during the day, etc.), you win a real tank. Though occasionally Joshua senses something wrong, he has so much faith and love for his father that he wouldn't dare doubt him.
Though the second half of this film may seem depressing and unhappy by what I write, you will still smile at the love, warmth, and amazing humor that Guido, in this most awful time, still maintains just for the sake of his son. In the first part of the film, the visuals are full of life, color, and beauty (in certain instances to an almost unreal extent), but in the second part, many of the colors are dull and lifeless to contrast the change in environment with the struggling brightness of Guido's hope and joy. The beautiful score written for this film (including Offenbach's Barcarolle) is the perfect compliment to the different moods that are portrayed throughout the movie.
By the end of this film, you are uplifted instead of put down by the bittersweet joy and the true beauty of life which is so wonderfully portrayed by Benigni's characters and story. The acting is a flawless blend of humor and pathos, and the fact that the film itself flows so extremely smoothly between its two distinct parts alone shows what immense talent Benigni possesses.
Life is Beautiful is a film that should be seen by anyone who has the chance to go out and see a movie. It is a shame that I am only given so much room to write about it, but I wouldn't want to give any of the surprises away either.
I saw the Italian masterpiece Life is Beautiful twice before Thanksgiving and after I saw it I recommended it to just about everyone who crossed my path. Unlike the last brilliant film I reviewed, Rushmore, this film should certainly be enjoyed by everyone, as it is as worldly a movie as you can get. To say it is about this Holocaust is a gross understatement, for put together with the rest of the story which focuses on love, life, and love of life it almost serves as a background.
The first half of this very different film by virtuoso writer, director, star Roberto Benigni is complete comedy. It portrays the enamored main character, a life-loving Italian Jew named Guido, chasing after the woman of his dreams, Dora (Benigni's real-life wife, Nicoletta Braschi), who is about to be forced into an unhappy marriage. The comedy is so pure, even if you don't enjoy some of the slapstick you cannot help be taken in by the heart that is at it source. Eventually, through a series of hilarious coincidences, he wins Dora over, and together they have a son, Joshua (Giorgio Cantarini).
Throughout the first half of the film, the audience catches glimpses of the evil that lies below the thick layer of humor and warmth. It is World War II, and the Fascist regime is growing in Italy, and through a sign here and anti-Semitic comment there we get the picture of what is going on. On Joshua's fifth birthday, he and Guido are taken away to a concentration/work camp in Italy. Trying to save her family, Dora, who is part of a prominent Italian family and not to be touched by the Fascists, begs to be placed on the train and gets her wish, only to be separated to a special women's camp. Innocent Joshua, though, wants to know what is going on, and Guido explains to him that this is a big trip that he has planned for Joshua's birthday. The rest of the film shows the different ways in which Guido convinces his son that the camp is all a game, and if you score one thousand points (for such things as good behavior, being quiet during the day, etc.), you win a real tank. Though occasionally Joshua senses something wrong, he has so much faith and love for his father that he wouldn't dare doubt him.
Though the second half of this film may seem depressing and unhappy by what I write, you will still smile at the love, warmth, and amazing humor that Guido, in this most awful time, still maintains just for the sake of his son. In the first part of the film, the visuals are full of life, color, and beauty (in certain instances to an almost unreal extent), but in the second part, many of the colors are dull and lifeless to contrast the change in environment with the struggling brightness of Guido's hope and joy. The beautiful score written for this film (including Offenbach's Barcarolle) is the perfect compliment to the different moods that are portrayed throughout the movie.
By the end of this film, you are uplifted instead of put down by the bittersweet joy and the true beauty of life which is so wonderfully portrayed by Benigni's characters and story. The acting is a flawless blend of humor and pathos, and the fact that the film itself flows so extremely smoothly between its two distinct parts alone shows what immense talent Benigni possesses.
Life is Beautiful is a film that should be seen by anyone who has the chance to go out and see a movie. It is a shame that I am only given so much room to write about it, but I wouldn't want to give any of the surprises away either.
The City of Lost Children
(1995)
Wonderfully Bizarre
8 November 2001
Written for English class my freshman year in high school.
Lights! Camera! Action! What makes a good movie? Better yet, what makes a great movie? In my opinion, a great movie should include almost flawless acting, a finely woven and gripping plot, music that is both beautiful and suitable, and great direction. Of course, mesmerizing visuals and art direction can also contribute to great films. So, for all the reasons above, I consider "The City Of Lost Children" the best film of 1996.
The plot of "The City Of Lost Children" is completely original and it never lets your mind wander off to other places. It also involves quite a few fascinating and somewhat weird characters in a dreary harbor town called "The City Of Lost Children" (hence the title). One(that is his name) is a slow-minded circus strongman who searches for his adopted little brother who has been kidnapped by a group of henchmen with robotic eyes called the Cyclops. One's little brother has been kidnapped and taken to a quickly aging mad scientist named Krank so that his dreams may be stolen. The mad scientist needs the dreams of children so that he will not age so quickly. The source of this problem is a curse that was put upon him. Because of this curse, his wife is a midget, he cannot dream, and he has seven identical sons (all of whom have a strange sleeping disorder). In this movie there is somewhat of a subplot that involves a wicked pair of unseparated siamese twin sisters. These women run a sort of school where they have the children in it steal for them. One small, but tough, girl named Miette runs away from the school, finds One, and aides him in his search. When the two women find out about their little thief, they go to Marcello, a retired man who used to run a circus freakshow, to get what they need to catch and kill the little girl and her newfound friend. Although this plot seems a bit hard to follow, it all fits together perfectly in the end with wondrous results. To accompany this odd story, there is a beautiful soundtrack composed by Angelo Badalmenti with one song ("Who Will Take Your Dreams Away") by Marianne Faithful. This music fits the mood and plot of the story perfectly and stays with you(as does the movie itself) long after the credits have rolled.
The casting director of "The City Of Lost Children", Pierre-Jacques Benochou, sure knew what he was doing, because there is not one poor (or mediocre one, for that matter) performance in the whole film. In fact, I might just say all the performances were virtually flawless. Ron Perlman's performance as the slow and dimwitted circus strongman One is beautifully acted. Mr. Perlman should especially be recognized because he is an American actor and this is a subtitled French film. Daniel Emilfork as the depressed and dreamless mad scientist with a short temper is outstanding and most believable. Dominique Pinon is wonderful (perhaps the best actor in the whole movie) as the seven rubberfaced identical brothers (yes, he does play all of them, and with fantastic results, too). The two different actresses who portray the siamese twins, Odile Mallet and Genevieve Brunet, are perfectly wicked and their timing is impeccable. Last, but not least, the children, with Judith Vittet as Miette in a stand-out performance, all carry out their roles with smashing results.
Another reason for me choosing "The City Of Lost Children" as the best movie of 1996 is its stunning direction. This movie was directed by the famous French directing team of Jean Pierre Jeunet and Marc Caro(a.k.a. "Jeunet and Caro"). The camera angles that are used during the course of this film are a totally different experience and they keep you mesmerized from start to finish. The directors of this film are, in my opinion, masters of the camera. The visuals in this movie also contributed to my conclusion that this is the best movie of 1996. Whatever it might have been, whether the bleak and unique use of colors or the special effects, I was absolutely captivated by what I was seeing on the screen. What I particularly liked about this film's special effects was that they were not the typical flashy and in-your-face computer special effects that some of today's blockbusters and other genre films seem to have. I think such special effects distract you from the rest of the movie. On the contrary, the special effects of "The City Of Lost Children," however, are very subtle. A final thing I liked about this film were its sets. From the waterlogged streets of the dank and moldy town to the spectacular gadgetry of Krank's laboratories everything was a magnificent panorama for the eye to behold.
Was the plot great? Yes. How was the acting? Outstanding. Was the direction done well? Definitely. How did the visuals appear? They were beautifully presented. From what you have read, whether you have concluded to avoid this movie completely or go out and rent it right away (I do understand that this movie does have a select audience), I am hopeful that you understand the picture I am trying to paint. Even if the story will not appeal to you, it is still splendidly done. Overall, though, "The City Of Lost Children" is definitely the best movie of 1996 for me.
Lights! Camera! Action! What makes a good movie? Better yet, what makes a great movie? In my opinion, a great movie should include almost flawless acting, a finely woven and gripping plot, music that is both beautiful and suitable, and great direction. Of course, mesmerizing visuals and art direction can also contribute to great films. So, for all the reasons above, I consider "The City Of Lost Children" the best film of 1996.
The plot of "The City Of Lost Children" is completely original and it never lets your mind wander off to other places. It also involves quite a few fascinating and somewhat weird characters in a dreary harbor town called "The City Of Lost Children" (hence the title). One(that is his name) is a slow-minded circus strongman who searches for his adopted little brother who has been kidnapped by a group of henchmen with robotic eyes called the Cyclops. One's little brother has been kidnapped and taken to a quickly aging mad scientist named Krank so that his dreams may be stolen. The mad scientist needs the dreams of children so that he will not age so quickly. The source of this problem is a curse that was put upon him. Because of this curse, his wife is a midget, he cannot dream, and he has seven identical sons (all of whom have a strange sleeping disorder). In this movie there is somewhat of a subplot that involves a wicked pair of unseparated siamese twin sisters. These women run a sort of school where they have the children in it steal for them. One small, but tough, girl named Miette runs away from the school, finds One, and aides him in his search. When the two women find out about their little thief, they go to Marcello, a retired man who used to run a circus freakshow, to get what they need to catch and kill the little girl and her newfound friend. Although this plot seems a bit hard to follow, it all fits together perfectly in the end with wondrous results. To accompany this odd story, there is a beautiful soundtrack composed by Angelo Badalmenti with one song ("Who Will Take Your Dreams Away") by Marianne Faithful. This music fits the mood and plot of the story perfectly and stays with you(as does the movie itself) long after the credits have rolled.
The casting director of "The City Of Lost Children", Pierre-Jacques Benochou, sure knew what he was doing, because there is not one poor (or mediocre one, for that matter) performance in the whole film. In fact, I might just say all the performances were virtually flawless. Ron Perlman's performance as the slow and dimwitted circus strongman One is beautifully acted. Mr. Perlman should especially be recognized because he is an American actor and this is a subtitled French film. Daniel Emilfork as the depressed and dreamless mad scientist with a short temper is outstanding and most believable. Dominique Pinon is wonderful (perhaps the best actor in the whole movie) as the seven rubberfaced identical brothers (yes, he does play all of them, and with fantastic results, too). The two different actresses who portray the siamese twins, Odile Mallet and Genevieve Brunet, are perfectly wicked and their timing is impeccable. Last, but not least, the children, with Judith Vittet as Miette in a stand-out performance, all carry out their roles with smashing results.
Another reason for me choosing "The City Of Lost Children" as the best movie of 1996 is its stunning direction. This movie was directed by the famous French directing team of Jean Pierre Jeunet and Marc Caro(a.k.a. "Jeunet and Caro"). The camera angles that are used during the course of this film are a totally different experience and they keep you mesmerized from start to finish. The directors of this film are, in my opinion, masters of the camera. The visuals in this movie also contributed to my conclusion that this is the best movie of 1996. Whatever it might have been, whether the bleak and unique use of colors or the special effects, I was absolutely captivated by what I was seeing on the screen. What I particularly liked about this film's special effects was that they were not the typical flashy and in-your-face computer special effects that some of today's blockbusters and other genre films seem to have. I think such special effects distract you from the rest of the movie. On the contrary, the special effects of "The City Of Lost Children," however, are very subtle. A final thing I liked about this film were its sets. From the waterlogged streets of the dank and moldy town to the spectacular gadgetry of Krank's laboratories everything was a magnificent panorama for the eye to behold.
Was the plot great? Yes. How was the acting? Outstanding. Was the direction done well? Definitely. How did the visuals appear? They were beautifully presented. From what you have read, whether you have concluded to avoid this movie completely or go out and rent it right away (I do understand that this movie does have a select audience), I am hopeful that you understand the picture I am trying to paint. Even if the story will not appeal to you, it is still splendidly done. Overall, though, "The City Of Lost Children" is definitely the best movie of 1996 for me.
The Filth Shop
(1969)
Pure Sparkling Brilliant Glittering Intelligence
17 April 2001
This film blew my mind. You would think that a film with such a lewd titles as "The Filth Shop" would be awful, cheap exploitation for lovers of bad cinema, BUT ITS NOT! This film has a totally engrossing plot with some of the best character development I've ever seen. The acting is really top notch, in a league with the great John Travolta. Big Bertha turns in the performance of her career. I just can't express to you, the fan of fine cinema who has visited this page, the excellence of this film. It moves so quickly let leaves you with so much to think about and discuss with friends. Please, please rent this film! You'll be glad you did.
Porn in Flames
(1983)
Moritz Boerner's Finest Work to Date!
17 April 2001
Moritz Boerner makes the most finely and artistically wrought hardcore XXX films I have ever seen. Porn in Flames is leagues ahead of Der Dicke Fritz, Renate und Klaus, Wunschfrauen, and The Extraordinary Semen and Der Alice on the Boat to Luscious Wonderland. The skin cimenatography is pure excellence. See this film! You'll be ever so glad you did.
Mama Dracula
(1980)
Wonderfully incoherent
28 November 1999
My sister found this for me at a local video store. After Iwatched it, I only had a vague idea of what was going on, but, the strange thing is, I didn't mind. The fact that this movie was so terribly incoherent, seemed to skip entire scenes, and had such awful humor made this a satisfying film to watch in the most bizarre way. It's amazing what people can think up.
Harold and Maude
(1971)
My favorite movie of all time
26 November 1999
Harold and Maude is the best movie I have ever seen. In an age where the amount of action usually dictates the size of the crowd, it was a thrill to see a movie like this. It is a flawless film with rich action, unbelievably natural performances, brilliant cinematography, a wonderful score by Cat Stevens, and a great and often hilarious story. Maude's pholosphies and thoughts in this film, when though about and applied to Life, can change yours. I have since bought the script to the stage play, the short story, and the movie itself. Unfortunately, the soundtrack was never made available in the States, but if you have enough Cat Stevens albums eventually you'll have all the songs in the movie.
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