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Andrew-Alan-Scott
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An error has ocurred. Please try againMostly dealing with heroin,(excluding films about smuggling, selling, etc.)
Alcohol is a different list.
Since it's impossible to list two films per list entry, the two features will be listed one after the other, (i.e. list item 1 & 2, 3 & 4, etc.)
!: Local Hero & Waking Ned Devine
2: Hardcore & 8MM
3: Crash & Babel
4: Dr. Strangelove & Fail-Safe
5: The Age of Adaline & City of Angels
6: The Wizard of Oz & Wild at Heart
7: Lost in Translation & Garden State
8: Metropolis & The Matrix
9: Schindlers's List & Come See the Paradise
10: Amélie & Delicatessen
11: The Good, the Bad and the Ugly & Unforgiven
12: Syriana & The Constant Gardener
13: Coming Home & The Deer Hunter
14: Looper & Terminator
15: Brokedown Palace & Midnight Express
16: Burden of Dreams & Hearts of Darkness
17: 12 Monkeys & Time Bandits
18: A Home at the End of the World & Boys on the Side
Then there's the actor's actors - the chameleons who seem to physically change with each roll, who don't seem to get the same notoriety, since they seem to be a different person each time we see them.
* If some appear to be too low on the list based on their talent or fame, remember, this list is about their ability to seem to change appearance.
1) Directing 2) Writing 3) Cinematography 4) Casting 5) Acting 6) Editing 7) Sound / Music 8) Freshness 9) Timelessness 10)Power
with a possible 10 points in each category, 100 points being perfect. Divide by 10 for 1 to 10 score.
Did the Director understand and own the project, executing it to its best use of each of the elements. Did she/he bring something special or distinct to the project... a signature?
Was the writing of the highest literary standard, without gimmick or cliche? Was it gripping, relate-able? Did it serve and suit the genre and style? Were you able to immerse yourself in the film, get lost in it, feel involved?
Was it beautifully and/or innovatively filmed, photographically?
Did the editing move the story at the right pace, without its becoming pedantic or dragging, or was it cut too heavily or sloppily so that it became muddy and unclear?
Was the story Fresh? Did it bring you somewhere new, show you something you've never experience, leave you thinking, or did you feel you'd seen it all before?
Was it a powerful experience? Did it move you, shake you, make you cry?
Almost all of the movies on this list have scored 10 or 9 in my estimation, based on these criteria alone.
I know, I know... "Where's Citizen Cane, or Casablanca?"
Go make your own list!
Reviews
Troll (2022)
He's clumsy, and a bit awkward, but he's no Godzilla!
If you're the kind of person who needs a reason to invest your time and money in a movie, if you like there to be reasons for what's happening, Troll may not be for you. I was left with more questions after watching this nearly 2-hour movie than another 2 hours would take to explain.
Like why?
Like what is he? They hint that he's made of stone, yet light will kill him by turning him to stone. And why are they hell-bent on destroying him the second he shows up? Sure, he's clumsy and a bit awkward, but short of knocking down one house, where's the threat? And why when they suddenly learn to understand him do they celebrate his demise?
The actors do a fine job with what little they've been given, and the special effects are passable, but personally, I needed more.
The Black Phone (2021)
Meep, meep! The Grabber's after you.
A series of unlikely, improbable, ill-conceived, and underdeveloped plot points that make this film feel more like an episode of the Roadrunner than the serial killer/horror it is sold to be.
Pains are taken to convince us that the killer has soundproofed the room to an impossible extent, yet there is no sign that this has been done. In fact there is a distinct lack of soundproofing of any kind.
The meticulousness suggested by this is also betrayed by the fact that the killer has left not one, but several items convenient to his victim as either methods of escape, or weapons.
One such item, a toilet tank lid, is used in the most unlikely and improbable way as a tool, where it would have itself made a better weapon than the one ultimately used that features in the title.
Every element of the story gives the feel that it was included not because it made sense or built the plot or had an element of realism, but simply because it was cool.
Pachinko (2022)
Remarkable Achievement
Beautiful production values, with the cinematography, direction and acting you'd expect in an Academy Award nominated film. Seriously.
Minha Kim is an astounding actor who's facial expressions are often as evocative as the lines of dialog themselves. I hope we see more of her.
This epic story told of families over generations is evocative of The Godfather in feel and scope, as well as quality.
Moonfall (2022)
Pathetic
Like it was written by a 12yr old.
Literally like the story a child would write with no concern for continuity or order, let alone reasons.
"What if... what if... what if the moon was a machine? Yeah. That'd be cool!"
The plot simply screams through a train of impossible concepts with no credibility, or attempt at explanation, and attempts to hide the fact that it makes no sense by moving through them so quickly there's no time for reasons. Because there is none.
It's not fantasy. The fantasy is that a studio would even consider its creation.
Zvyozdniy razum (2022)
juvenile
Imagine a big-budget sci-fi film with great production values and special effects, then imagine that they asked your 12yr old to write it.
Looks good, but so cliche and frankly juvenile a story that it's a trial to sit through. Predictable and unoriginal dialog throughout.
Cry Macho (2021)
rewscott@gmail.com
Slow moving and painful.
Time to hang up your hat, cowboy. Quit while people still admire you.
Ad Astra (2019)
2001 it's Not
There's little here that could even be classified as science fiction, any truth or adherence to scientific fact discarded or ignored in support of the deep, and oh so important "meaning." This movie has something to say, something deep but anti-science, so I guess it's OK to throw any scientific reality out with the bathwater. And what is that profound and important meaning? What is this movie trying to tell us? SPACE MONKEYS!!!
The Irishman (2019)
Scorsese's best since Goodfellas
Full of that rich, slick yet subtle sense of menace that Scorsese is so good at, wonderfully detailed and visually period-on-point.
At 3.5 hours the film still moves at a comfortable and constant pace. Where in past Scorsese has relied a bit too heavily on voice-over, he lets this story play out in action and visual story telling, which contributes to the length, but the film bears it easily.
Both De Niro and Pesci give great performances, aging so convincingly with their acting (and great makeup.) De Niro is stellar in his phone call to the widow, stammering and stumbling through his guilt. Great dialog all around... the conversation about the fish is hilarious. Special mention to Ray Romano, who will hopefully do more serious roles.
Once Upon a Time in... Hollywood (2019)
Just can't leave well-enough alone.
There ain't no history like a Tarantino history, cause a Tarantino history is "history plus!"
Much like the sinking of the Titanic (one of the most tragic, horrible and dramatic events of modern history, with great loss of life) just wasn't quite "zingy" enough until James Cameron tweaked it into screen-worthiness with his corny little touches and plot points, Tarantino can take ho-hum. Silly events (like Hitler's extermination of a race and The Manson Murders) and use his special talent to just kick it up a notch to the point of being noteworthy and attention-getting, all praise Quinton! It was all just a little spare on interest until he added his special ju ne sais quoi, his touch. Lord knows, his "improved" versions are superior, the way things really should have gone down. He's like a child saying "If I'd ever gotten my hands on Hitler I'd have shown him what-for." or "Charlie Manson wouldn't have killed me! I'd have gotten my flame thrower and turned him into a marshmallow."
At least there's no confusion about the fact that it's an alternative take, a Tarantino take, but real history is inviolable, and my concern is still that there's a price to pay in credibility when you mess with the truth.
I found it quite ironic that mention is made of Disney, calling him a genius, he himself a great meddler with history and a story or two.
Steel Country (2018)
Shades of "Sling Blade"
Betty Devlin: "God never gives you more than you can handle... it's in the bible."
It's been my experience that God delights in giving some more than they can handle. Sees it as "his" raison d'être, no less. Mysterious ways, and all that malarkey. It's a sad fact that the vulnerable are often victims, with some predators actually alluding to the fact that they pick victims by their apparent weakness.
This film echoes a theme found in Billy Bob Thornton's "Sling Blade" among others, of such vulnerable victims driven to a breaking point where they need to act in defence of others.
Played with great acuity, subtlety and sensitivity by the talented Andrew Scott, Donnie Devlin knows that we don't have to "make up" monsters, they walk among us.
Patient Zero (2018)
Zombie Dr. Doolittle
If we could talk to the animals, learn their languages
Think of all the things we could discuss
If we could walk with the zombies, talk with the zombies,
Grunt and howl and drool with the zombies,
And they could talk to us.
Hereditary (2018)
This movie is no Rosemary's Baby
Although it tries hard to be. It just lacks the subtilty and believability in its characters. The family doesn't even look like it fits together.
The beauty of Polansky's films is in the very human and ordinary quality of its characters - just everyday people - juxtaposed within surreal and horrific situations. The characters in Hereditary seem so contrived, awkward and uncomfortable in their rolls, and we're left feeling confused about what's happening and why, until the end.
Having said that, Toni Collette handles what little she is given to work with brilliantly. Her face alone should be nominated for a Golden Globe.
If you like The Exorcist, and don't demand too much in the way of answers from your horror, you might just like Hereditary.
Corbin Nash (2018)
Has the potential to become a cult classic!
Glad to see this has risen in its over all ratings. New and original vampire movies are getting harder and harder to come by. Has the potential to become a cult classic! And the people giving it such low ratings here will probably be the first to claim they loved it first. Either that or the gender-bending content was just too much for them.
Wouldn't be surprised if this spawned sequels, but I'm sure they won't be as good.
Feldman's camp demon is very entertaining, but probably should have dropped the Silence of the Lambs reference in the car at the beginning, if it was intentional. Richard Wagner does a great job throughout as Vince, Feldman's naughty love interest. Very creepy indeed!
Was actually glad to see that they achieved the mood and atmosphere, without over-the-top special effects.
If you liked "From Dusk Till Dawn," "Blade" and "The Crow" you'll probably like Corbin Nash.
Den of Thieves (2018)
Desperately wants to be "Heat" but warm at best.
Desperately wants to be "Heat" but is warm at best. If you like this genre, you'll probably sit through it hoping it will redeem itself at some point and kick into gear, but it's really just a rehash of successful "super criminal" movies like Heat and The Usual Suspects, with all the cliché and obligatory scenes in place... the tough, misunderstood cop going through divorce, the crooks ironically staking out the cops, talking to the estranged kids at school through the fence.
But the real stretch for me is that this incredibly complex, convoluted and dangerous plan relies on a Chinese food order placed by outsiders happening just so.
Wonder (2017)
The better angels of our nature
If there exists a better or more thourough tear-jerking mechanism than this movie I am unaware of it. The question of whether it accurately reflects reality is inconcequential, or if Auggie and his behavior are most perfectly suited to represent what it means to grow up different is not important.
In this age of anonymous internet insult flingers, where everyone who tries is raked over the coals and every kindness subjected to ridicule, this simple parable reminds us of the better angels of our nature, at a time it is sorely needed.
If you liked "Pay It Forward" you'll surely enjoy Wonder
Elvis and Anabelle (2007)
Elvis and Anabelle doesn't so much defy categorization, as it confronts and taunts it.
Elvis and Anabelle is a marvelous modern-day fable that took the rules, crossed them out, wrote them over, crumpled them up, burned them and dumped the ashes at sea.
It focuses on a couple of small town, fresh-out-of-high-school kids stuck in rolls the never wanted (beauty queen and morticians apprentice,) who are both playing along out of a sense of commitment, that is, until she dies, and they meet.
While it has the elements of a Cinderella story, a beautiful princess, and a reluctantly charming prince, there are points in the film where it jerks you into modern-day reality, and uses that reality to confront and question the fantasy. It asks the viewer to question the price the characters pay for the fairy tale rolls they play, in a wonderful way.
Joe Mantegna is an absolute revelation, in the roll of Elvis's handicapped father. He plays it so perfectly, and sweetly, that I found myself loving him before I realized who it was. He slips into the roll so well that he seems to physically change, without ever overplaying the disadvantages.
While this is a sweet and engaging film for all ages, if you have high-school age kids in particular, bring this one home for movie night. It's hip enough to engage them long enough to hook them.
If you liked:
The Princess Bride
The Perks Of Being A Wallflower
StandBy Me
The Age of Adaline
you'll probably like Elvis and Anabelle.
Jurassic World (2015)
The Worlds First Unspoilerable Movie - You've already seen it 3 times.
The park is open, again.
Young relatives are visiting, again.
They've been messing with the dino DNA, again.
An employee with access to the "assets" goes rouge, again.
The raptors, getting ever smarter, are on the loose, again.
The kids are in a vehicle in the park when the power goes down, again.
They have to make it back alone while others search for them, again.
The flying dinosaurs get loose and reek havoc, again.
The kids make it back to the visitors center, where the raptors (and others) chase them around, trashing the place, again.
The T-Rex storms in, killing the bad dinos and saving the day, again.
The only reason they didn't have the T-Rex and the raptor high-5 each other at the end (and you know they discussed it) was the T-Rex's stumpy arm's wouldn't reach!
If there's to be another film in the series at all, they're gonna have to show a little more imagination with the plot. You know they don't have it though. They admit it right in the movie... "bigger, scarier, more teeth," is all they've got.
Well here's one you can have for free Amblin & Universal... Jurassic Park 5, DINOSAURS ON A PLANE!!!
"I've had it with these motherf%@in' dinosaurs on this motherf%@in' plane!"
When a project with such a massive budget has no big-name actors attached, it should be a neon warning sign.
I did like the baby dino petting zoo though.
Child 44 (2015)
Overly Convoluted Mess
If you want to see this movie - done right - watch "Citizen X," the HBO movie that supposedly 'inspired" Child 44, but outshines it in every conceivable way.
http://www.imdb.com/title/tt0112681/?ref_=nv_sr_4
Anyone will be able to see where Child 44 borrows from Citizen X, but where Citizen is a true-to-the-facts, utterly chilling story about one of the worst serial killers in history, Andrei Chikatilo, the telling of which is so much more creepy and horrifying for its simplicity and lack of "Hollywood" style embellishment.
Child 44 tries far too hard to be too many things, and fails at them all. The child murders, which are supposed to be the story's catalyst, end up feeling brushed over and tacked on, while the real-life bureaucracy and just plain pigheadedness of the government-in-denial that was almost complicit in many of the deaths due to inaction, becomes a confused and unreal spy/love story/rivalry conundrum that ends up feeling contrived and unfocused.
In recommending Citizen X to people, as I often have over the years, as possibly the best movie about a serial killer ever made, it is for precisely all the reasons where Child 44 goes wrong. Citizen X is wonderful writing and acting, is frightening and believable, a true look at a human turned monster, because it isn't overdone and pumped full of clichés and contrived action.